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John Heseltine, pastel drawing, study of a reclining nude ' Maria '

Twelve assorted miniature ceramic scent bottles, to include a silver and cream ceramic scent bottle of oblong form, the cover and cuff engraved with ferns and painted with a peacock, 7.4cm, a Victorian silver and ceramic scent bottle of bulbous form, decorated with a raised gilt relief and painted in pastel tones, 5.7cm, and a silver and Imari example of oval form, 4.9cm (12)

A 20th Century Scandinavian silver mounted and enamel circular plate, the enamelled centre decorated in pastel enamels within silver wires depicting numerous small sailing boats, mounted in silver rim and with silver back, on narrow footrim, 12.5ins diameter (stamped 925 and with "H" and "A")

William John Roffe (c.1820--1890) Boats on a beach pastel, signed and dated 1866 lower left 42 x 52cm

Marjorie Cox (1915-2003) 'Bumble 1974' a pug pastel on grey paper, signed lower right, inscribed lower left 33 x 29cm together with two others by the same hand

Mary Browning (20th century), 'Tessa', a study of Jack Russell. Pastel, signed lower left, 29.5 x 22cm together with three other works by the same hand (4)

Ena Morris, 'Distant Light', pastel, housed in a light oak glazed frame, the pastel 37.5cm x 54.5cm

MM, study of a male and female face, initialled pastel, watercolour and chalk, housed in a mottled frame, the study 61cm x 46cm

A Framed Pastel Depicting Woodland Stream, Signed Jessica Heal, 50cm Wide

Pastel of a lady, unsigned framed & glazed 34 x 39 cm

Arthur Hayward (20th century British), Brighton Pier, pastel and pencil, signed and dated '57 to lower left, in glazed gilt frame, 27 x 38cm

* RO HENDERSON, DAISIES AND POPPY pastel on paper, signed 50cm x 68cn Mounted, framed and under glass. Label verso: The Macaulay Gallery, Stenton, Dunbar, East Lothian.

* GRAHAM MCKEAN, RED SHOES pastel on paper, signed 62cm x 47cm Mounted, framed and under glass

Signed lower right. Pastel. Western mountain scene. Sight Size: 5.75 x 7.25 in. Overall Size: 12.75 x 14.5 in. Framed behind glass.

John Young-Hunter (New Mexico, New York / England, Scotland, 1874 - 1955) Oil/Pastel on Paper Painting of a Young Blonde Beauty Smoking a Cigarette. Signed upper right. Having original Salmagundi Club label verso. 1946 American Watercolor Society Member label verso. His paintings were exhibited in the National Tate Gallery in London and the Luxembourg Museum in Paris. He studied at Clifton College in England and the Royal Academy School as well as the University of London. From 1900 to 1913, he exhibited at the Royal Academy. Cutting his connections to the European art world, he settled in Taos, New Mexico in 1942, and became a part of the colony of artists around Mabel Dodge Luhan. He spent the winters in New York City, completing numerous portrait commissions whose quality was so respected that some persons compared his skills to those of John Singer Sargent.Sight Size: 21.5 x 14.5 in. Overall Size: 29.5 x 22.5 in. Framed behind glass.

Geo. Terho "Nude Beachgoers" Pastel. Signed lower left. Sight Size: 11 x 9 in. Overall Size: 21.75 x 17.75 in. Framed behind glass.

Ward, Signed American River Landscape. Pastel. Signed lower left. Sight Size: 13.5 x 21 in. Overall Size: 18.25 x 26.25 in. Framed behind glass.

Aaron Miles, Pastel Painting of a Reclining Nude Female, 48cms x 64cms, framed and glazed

Pastel of a Male and Female Ballet Dancers signed C E Findlay, framed and glazed, 50cms x 36cms

D A Fisher (American) Still Life Pastel of Fruit and a Jug, signed and dated 1911, 48cms x 39cms, framed and glazed together with Framed and Glazed Signed Limited Edition Christiey Print ' Maldon after the 1986 Barge Race ' no. 10/300, 59cms x 35cms

Brian Lindley, Pastel Picture titled ' Quadri - Venice ' 8" x 11". framed and glazed

Nora Howarth, Pastel of Cat led in Window by Paint Brushes, 24cms x 30cms

Framed & glazed Nora Howarth Pastel of Cart & Horse with Dog and People picking Vegetables in the background, picture size approx 46.5 x 31.5cm and signed by the Artist

E*** Hutchinson [?] (20th century) Two sensitive portrait studies of Rhodesian Ridgeback dogs, including one entitled 'Ridgeback in the Snow', mixed media, bodycolour, ink and pastel on coloured paper, framed and mounted under glass, approximately 20 x 28 cm and 28 x 36 cm respectively

J*** M*** Davies (Contemporary) Portrait of Rhodesian Ridgeback puppy 'Fingo', pastel on paper, signed lower right and dated 2007, framed and mounted under glass, 23 x 22 cm

GUY WORSDELL (1908-1978) - A view of the Forth Bridge, pastel drawing, signed, framed, 36cm x 54cm

Jehan Emile Area Daly (British 1918-2001): Portrait of a Young Girl with Blond Hair, pastel signed inscribed and dated '75, 23cm x 22cmDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

David Baumforth (British 1945-): 'Looking towards Pickering from the Hole of Horcum', watercolour and pastel signed titled and dated 7pm 20th March 1995, 52cm x 71cmProvenance: with the Brian Sinfield Gallery Burford, OxfordshireDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

Edward Henry Holder (British 1847-1922): Cottage in the Mountains, pastel signed 29cm x 37cm Condition Report Click here for further images, condition, auction times & delivery costs

Elizabeth A Smith PPRSMA (British 1950-): 'Saltburn Beach and Hunt Cliff', pastel signed 42cm x 29cmNotes: Elizabeth now based in Oxfordshire, but formerly from North Yorkshire served as the first woman president of the Royal Society of Marine Artists 2013-2018DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

Marinus Johannes Drulman (de Jongere) (Dutch 1912-1977): Busy Commercial Harbour scenes, two charcoal pastel and watercolour signed 13cm x 22cm & 11.5cm x 22cm (2)DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

Elizabeth A Smith PPRSMA (British 1950-): 'Evening Whitby Harbour', pastel signed 33cm x 22cmNotes: Elizabeth now based in Oxfordshire, but formerly from North Yorkshire served as the first woman president of the Royal Society of Marine Artists 2013-2018DDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

John Mackie (Scottish 1953-): The Avenue Montpellier, pastel signed 57cm x 77cmDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

John Mackie (Scottish 1953-): The Avenue Montpellier, pastel signed 22cm x 37cmDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

David. C. White Still Life of Jug, Banana, Apple, pastel, signed lower left, 40 x 27cm; another similar unsigned, R. Nightingale; The Bay Window, pastel, signed. (3)

Anne L. Rawscar? Head and Shoulders Study of an Oriental Lady, pastel, signed lower right, 40 x31cm.

Moya O'Day (Derbyshire Artist) 'Portrait of Molly', pastel, signed and dated '96, details verso, 33 x 29.5cm; another female head study, oil painting, unsigned. (2)

Various Prints, photographic prints, coloured etching, mirrors, pastel study, etc.

Henry Bright (1810-1873), Shrublands Park, Ipswich , pastel and watercolour, 27cm x 25cm

Caill, 21st century, Abstract, pastel, signed and dated 07 lower right, 38cm x 42cm

Henry Bright (1810-1873), Moonlit Coastal scene, charcoal, pastel and body colour, 23cm x 40cm

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)NORTH-EAST COTTAGE Pastel10cm x 14cm (4in x 5.5in)Provenance:Compass Gallery, Glasgow Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)ROWING BOATS BY A HARBOUR QUAY, CONCARNEAU Oil on panel, also painted verso 'Fishermen on the quay'26.5cm x 35cm (10.5in x 13.75in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'

ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)CONCARNEAU FERRYMAN 1894 Signed with a monogram, pastel40cm x 55cm (15.75in x 21.75in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'

ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)SOUTH OF CONCARNEAU Signed, pastel on buff paper24cm x 31cm (9.5in x 12.25in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'

ROBERT BROUGH R.A., A.R.S.A. (SCOTTISH 1872-1905)BULB PLANTING IN THE TUILERIES GARDENS, PARIS Signed with a monogram, pastel23.5cm x 32cm (9.25in x 12.5in)Note: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'

DERWENT WOOD (BRITISH 1871-1925)BUST PORTRAIT OF ROBERT BROUGH Signed, inscribed and dated 1904 in the cast, bronze23cm (9in) highNote: Robert Brough's art is often overshadowed by the trauma and tragedy of his untimely death; after suffering horrific burns in a train collision outside of Sheffield. A great friend and protégé of Singer Sargent, the older artist rushed to be with his friend in his final days and following his death curated a memorial exhibition in celebration of the young artist's talent. Brough's life was cut short during a steep upward career trajectory; he was very much a rising art star, working alongside Sargent and having recently been made an associate of the Royal Scottish Academy.Brough displayed a talent for both art and music from a young age, and was greatly encouraged by the family's neighbour, the painter Sir George Reid. With this support Brough found an apprenticeship as a lithographer in Aberdeen and used his earnings to fund trainings at Gray's School of Art in the city, before applying to the R.S.A. Schools in Edinburgh in 1891. By the end of his first year, he had been awarded three prestigious prizes, thus beginning a notable career. Brough completed further training in Paris, enrolling at the Acadamie Julien in Paris with Scottish Colourist S.J. Peploe, before travelling on in search of Sisley at Moret-sur-Seine and then Gauguin at Pont Aven in Brittany. By 1894 he had returned to his native Aberdeen and his steady progress was being closely monitored by the local press, 'When only three-and-twenty years of age Mr. Brough created some sensation and scored an undoubted triumph with two pictures shown at the Grafton Exhibition of the Society of Portrait Painters. His reputation already extended far beyond the confines of his native land. He had important pictures in Munich, Moscow, and in other leading Continental Galleries' (1895 Aberdeen Daily Journal). Then by 1897, and the age of 25, he was in London working on society portraits alongside Sargent. A Scottish artist, with a particular European flair, Brough's modern French training combined with a range of influences and inspirations from Raeburn to Velazquez to create a sophisticated and flamboyant approach. Close engagement with the selection of offered works by this intriguing artist reveal his true talent and dexterity; his lightness of touch and sophistication across mediums particularly apparent. Rowing Boats by a Harbour Quay, Concarneau atmospherically evokes the Brittany coast and the quick, deft brushwork is handled with a charming lightness. An unfinished working sketch still visible verso reveals the artist's working practice. In Rowing Boats, and Figures on the Harbour Wall, Brittany, Brough beautifully balances the compositions and utilises the unique qualities of the differing mediums. Within the offered group a particular preoccupation with ripples and reflections is visible, elegantly captured by the artist in a variety of media, from directly applied waving lines of pastel pigment to a patterning of daubs of fluid watercolour. Overall it is his dexterity with pastel that is a true delight to witness, with his lightness of touch allowing him to delineate the patterning of architecture and greenery in South of Concarneau, the colourful, graphic topography rising elegantly out of the buff paper surface, and the sparseness of a Parisian winter in Bulb Planting in the Tuileries Gardens, Paris, the effortful gestures of the workers clear in their brief outlines and the elegance of the city visible in the grey and white distance. Brough's talent and approach was beautifully summarised by his friend and mentor, Sargent: '. . . the grace, the fluidity, the lightness of touch that are so delightful in Brough; that very rare quality of surface that seems to make the actual paint a precious substance.'Provenance:This reduction bronze is believed to be unique and was specially commissioned by John Singer Sargent from Derwent Wood as a gift to Lady Maude Messell (1875-1960 ) in memory of the artist.By decent to Lord Anthony Armstrong Jones and consigned to benefit the National Trust acquisition of Nymans House.Neil Wilson, Campbell Wilson Fine ArtPrivate Collection, ScotlandThere are 3 known full size versions; National Gallery of Scotland, Aberdeen Art Gallery, and the third is believed to be in a private collection in the US.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)GLASGOW TENEMENT Oil on board19cm x 56cm (7.5in x 22in)Provenance:Aitken Dott & Son, EdinburghPrivate CollectionExhibited:Aitken Dott & Son, Edinburgh, Christmas Exhibition 1967, no.47 Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)TENEMENT FROM WASTEGROUND Pastel9cm x 12cm (3.5in x 4.75in)Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)A GLASGOW TENEMENT Pastel25cm x 20cm (9.75in x 8in)Note:This work was a gift to a previous owner's husband from Joan Eardley's mother on the occasion of his 50th wedding anniverary Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)A HARVEST LANDSCAPE, CATTERLINE Signed verso, oil on canvas30.5cm x 25.5cm (12in x 10in)Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)THE TOD LIGHTHOUSE, CATTERLINE Oil on board46cm x 76cm (18in x 30in)Exhibited:369 Gallery, Joan Eardley Exhibition, July 1989, no.2 Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)BREAKING WAVES CATTERLINE Oil on board, numbered EE164 verso23cm x 59cm (9in x 23.25in)Provenance:Cyril Gerber and thence by descent Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)HEAD OF A GIRL Oil on board39cm x 31cm (15.25in x 12.25in)Provenance:This and two other paintings by Joan Eardley were acquired by the current vendor's husband when Eardley's flat was demolished. At that time the attribution to Eardley was confirmed by The Scottish Gallery and subsequent insurance valuations endorse this. Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

[§] JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963)PENSIVE YOUNG MAN Pastel16cm x 13cm (6.25in x 5.25in)Provenance: Roland Browse and Delbanco, London Note: Joan Eardley is recognised as one of the great talents of 20th century Scottish art, capturing the essence of some distinctly Scottish places; from the energy and community of a quickly disappearing urban way of life in the east end of Glasgow, to the drama and brutality of varying weather effects on the small fishing village of Catterline. Lyon & Turnbull are delighted to be offering a collection of fine works by this uniquely expressive, and enduringly popular artist within this auction. The works cover a range of Eardley's key techniques and talents and present a wonderful opportunity to engage with the strength and variety of her work, from bold, thickly applied oil paintings to charming and evocative pastels. The Tod Lighthouse, Catterline, offers a spectacular view of Eardley's beloved home on the north east coast of Scotland, just south of Aberdeen. The wide-angled view takes in the lighthouse to the right, and runs across the offing, below which Eardley's exuberant, expressive brushstrokes convey the tumultuous, crashing energy of the waves. The primal power of the sea is expressed, and we are drawn into the materiality of her paint, as we are drawn to the enduring eternal rhythms of the sea. A similarly vibrant, dynamic painterly approach is visible in A Harvest Landscape, Catterline, where Eardley turns her energetic brushwork and dripped paint inland to the rich, warm colour and texture of this abundant season. As an exciting extra, this work features a small, signed still-life study verso, in an unusually cheery pink palette.A further four of these artworks take us to the east end of Glasgow, Eardley's other home, and an area that greatly inspired her artistic work. Most famously she worked on a series of sketches of the local children, encouraging them to sit for her in exchange for sweets and comics. Predominantly worked in pastel, here we have an oil sketch of a girl in which the deft brushwork reveals the artist's talent as well as her enduring affection for her subject. In the other offered East End works, Eardley focuses on the structures inhabited by her sitters, boldly capturing the slanting lines and everyday details of this way of life in both pastel and oil. Eardley's colour choices enliven the details amongst the bold dark lines and sections of dense pigment in A Glasgow Tenement, delineating windows in citron and orange and lines of drying laundry in a pale blue-grey. The vibrant colour and energetic brushwork of Glasgow Tenement reveals the beauty Eardley found in this ordinary street, and the specific vitality she saw in the area. This was a way of life that was quickly disappearing, as we can see in Tenement from Wasteground, where the buildings rise beyond the abandoned area we view them from; the building we see will soon go the same way. The communities here live side by side with emptiness and dirt, and Eardley communicates these rough edges but also the joy and connection that she experiences there. In Pensive Young Man, Eardley captures an altogether quieter scene - a moment of internal reflection. Its peace and gentleness is reflected in her choice of perspective, looking over the shoulder of the subject, and the soft muted tones, which she handles with sophistication and ease. In all these works, a reverence and beauty arises out of an image that at first glance may seem messy or chaotic. In essence, this is Eardley's distinct skill in art; she was always led by the dynamism and essence of her subjects - the squinty, sloping lines of Glasgow streets and tenement walls, the awe-inspiring drama of the Catterline coast or an individual lost within their own thoughts - her techniques are selected under their influence. These disparate and often temperamental Scottish subjects are beautifully and sensitively captured so we are drawn in as she reveals the beauty and drama of the everyday across Scotland - from dramatic coastal weather, through the vibrancy of childhood to laundry and the ordinary business of living.

ALOIS KALVODA 1875 - 1934: SUMMER LANDSCAPE 1903 Oil on canvas 110 x 110 cm Signed lower left: "-AL. KALVODA-" This lightly toned painting of a summer landscape in an Art Nouveau square format is a prestigious work by Alois Kalvoda, a student of Mařák's landscape painting class. In this composition featuring a low horizon, Kalvoda amplifies the expansiveness of the field by using harmonious pastel colors. Clouds with alternating areas of light and shadow arch over the entire plain.After studying at the Academy of Fine Arts, he went on study trips to Paris and Munich. He eventually departed from Mařák’s school of painting melancholic landscapes, moving instead towards a more decorative interpretation of the landscape through both colors and motifs. He painted simple motifs of the Bohemian countryside: meadows, hillsides, birches, glimpses of the landscape through the trunks of trees standing in the foreground or on the background of a hill. His work from the areas around Rohatce, Strážnice, and the Bøeclav area are superb. Kalvoda also taught. Following the untimely death of Ludìk Marold, he took over his studio and took on many of his pupils. From 1897 he continuously exhibited in Prague and Brno as well as Vienna, Berlin, Hamburg, Warsaw, Munich and even Russia, Italy and the United States.

JOSEF INGRIŠ 1880 - 1960: DANCE OF LIFE 1924 101 x 81 cm Painter Josef Ingriš trained at the Academy of Fine Arts in Prague under Professor Vojtìch Hynais. His work is categorized as part of the Czech academic painting movement from the first half of the 20th century (Marie Rakušanová, Bytosti odjinud, Academia 2008), which includes painters who are less researched and cited alongside renowned names in the Czech modernism and avant-garde movement. Ingriš’s preserved nudes are remarkable for their special sense of poetry and harmony influenced by the period Art Deco style, enhanced by the use of pastel colors and pink accents. In Dance of Life, Ingriš adds further contextual meaning to this expressive period dancerreminiscent of the playful nudes of dancers and their shadows in Drtikol’s photographs from the same period.

Staffordshire tithe figure group two other Staffordshire figures and a pastel burner

R Russell, Street scene possibly Shropshire, gouache, signed lower right, 30x48cm; together with Claud Kite, river scene, pastel on paper, 36x53cm

JAMES WATTERSTON HERALD (SCOTTISH 1859-1914), ARBROATH pastel on paper, signed 42cm x 50cm Framed and under glass