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A pair of charcoal and pastel portrait pictures, together with a landscape scene

Marjorie Wilding (1909-2009) - a 20th century pastel portrait study of a young lady in blue dress with matching headband. Signed to the corner Marjorie Wilding and dated 1960. The sitter being our vendor. Framed and glazed. Measures approx. 49cm x 39cm. 

Pastel portrait in an older gilt decorated frame. H.70 W.50 cm.

Pair of framed pastel studies portraits

19th century school, portrait study of a family group, unsigned pastel and crayon contained in gilt frame, 74cm x 53cm

A gilt framed pastel portrait study of a gentleman

A pastel on board depicting scene from The Wild Swans by Hans Christian Andersen

James Penny, pastel study

A gilt framed pastel portrait study indistinctly signed

pastel on paper, signed mounted, framed and under glass image size 61cm x 46cm, overall size 91cm x 74cm

pastel on paper, signed mounted, framed and under glass image size 60cm x 46cm, overall size 91cm x 74cm

pastel on paper, signed mounted, framed and under glass image size 34cm x 27cm, overall size 56cm x 48cm

pastel on paper, signed, titled label verso mounted, framed and under glass image size 47cm x 37cm, overall size 74cm x 63cm

Valerie Cosway Pastel and watercolour drawing Woodland scene in early spring, signed lower left, 34cm x 53cm, framed 

Mary Kenny (born 1947) a pastel yellow jug, 15.5cm high and a similar vase, both with impressed makers marks to base CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

Ivy Neil, a collection of pastel pictures, all unframed and landscape scene, oil on board, indistinctly initialled lower left and dated '19, framed, 29 x 39.5cm

Pastel of Warwick Westgate - Approx image size: 25cm x 33cm

English school, 19th century, portrait of a gentleman, signed indistinctly and dated 1862, pastel on paper, 65 x 53cm oval

λ&nbspFRANK DOBSON (BRITISH 1886-1963) LANDSCAPE Pastel 13.5 x 20cm (5¼ x 7¾ in.) Unframed Condition Report: Unframed and mounted. Appears to be in good original condition. Condition Report Disclaimer

AFTER SIR JOSHUA REYNOLDS THE STRAWBERRY GIRL Pastel 73 x 58cm (28½ x 22¾ in.)Please note measurements do not include the frame unless otherwise stated.  Condition Report: Some general wear, including surface dirt and scratches but generally in good condition commensurate with age.Please note Dreweatts is not liable for damage to frames.  Condition Report Disclaimer

LEONARD RUSSELL SQUIRRELL (ENGLISH 1893-1979) THE PASTON BARN Pastel Signed 1933 (lower left) 33.5 x 47cm (13 x 18½ in.)Exhibited: The Pastel Society, London, No. 57 (undated)Please note measurements do not include the frame unless otherwise stated. Condition Report: The work appears to be in good original condition. Unexamined out of glazed frame.Condition Report Disclaimer

WILLIAM HUGGINS (BRITISH 1820 - 1884) CAT STUDY Pencil and pastel Signed (lower right) 24 x 21cm (9¼ x 8¼ in.) Exhibited: Lowndes Lodge Gallery, William Huggins, November 1966, Cat No. 47Please note measurements do not include the frame unless otherwise stated.

λ&nbspNICHOLAS EGON (BRITISH B. 1921) FOUR FIELDS OF FLOWERS Pastel and watercolour Each signed and dated Each 52 x 72cm (20¼ x 28¼ in.) (4)Executed between 1984 and 1986. Please note measurements do not include the frame unless otherwise stated. Condition Report: Each work appears to be in good original condition.Unexamined out of glazed frame.Please note Dreweatts is not liable for damage to frames.   Condition Report Disclaimer

FRENCH SCHOOL (18TH CENTURY) PORTRAIT OF A LADY IN A BLUE DRESS Pastel, in an oval mount Indistinctly signed (lower right) 49 x 38cm (19¼ x 14¾ in.)Please note measurements do not include the frame unless otherwise stated.

λ&nbspANDREW HEMINGWAY (BRITISH B. 1955) STILL LIFE WITH COFFEE GRINDER Pastel Signed and dated 'MCMXCI' (lower left) 41 x 47cm (16 x 18½ in.)Please note measurements do not include the frame unless otherwise stated. Condition Report: The work appears to be in good original condition. Unexamined out of frame.Condition Report Disclaimer

λ&nbspJORDAN PATRICE (FRENCH B. 1944) ABSTRACT COMPOSITION Pastel and charcoal Signed (lower right) 24.5 x 32cm (9½ x 12½ in.)Provenance: Galerie Georges Moos, GenevaPlease note measurements do not include the frame unless otherwise stated. Condition Report: Unexamined out of glazed frame. Very light possible fading to the extreme edges. Otherwise appears to be in good original condition. Please note Dreweatts is not liable for damage to frames.Condition Report Disclaimer

19th century British school - A Cherub Holding a Wreath - pastel and chalk, 22 by 30cms, framed & glazed.

ASSORTED PAINTINGS AND A PLAQUE, including pastel of Tenby by P. BURGESS, signed and dated '98, snow scene watercolour by HAWKINS, signed, entitled 'On the Mount Whoops!', watercolour of standing figures, indistinctly signed, still life of figs and walnuts, signed with initial 'M', and two others, the moulded simulated marble classical plaque in giltwood frame (7)Provenance: private collection South WalesComments: pictures all framed, watercolours also glazed

‡ VIDAH ROBERTS pastel - reclining female nude, signed, 33 x 52cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

‡ VIDAH ROBERTS pastel - reclining female nude, signed, 25 x 40cmsProvenance: private collection CardiffComments: framed and glazed, ready to hang

COLLECTION OF ARTWORK including R.T. MINSHULL watercolour - untitled, lone figure on country path by gated stone wall, signed, bears date and title verso 'Preseli '73', 21 x 33.5cms, M.T. MONKHOUSE watercolour - entitled 'Chartres', view of Chartres cathedral to the background, riverside buildings and stone bridge to the fore, signed in pencil, 27 x 19cms, H. Murray Wright watercolour - entitled in mount 'Summer', bucolic scene with discarded farm tools and equipment to the foreground, signed, 39 x 47cms, plus two works by ANN PETTIT - pastel, untitled, sheep on snow-covered hills, signed and dated 26.3.87, 22 x 29cms, watercolour - bears title and date verso, 'At the back of Gwastad Bach - Ann Pettit 1986' signed with initial and date, 18 x 22cms (5)Provenance: private collection Abergavenny, consigned via our Cardiff office

E. Cowley, three original paintings, two watercolour one pastel, all signed and dated lower right (3).

Denise G. Sizer? Dog Studies, in pastel, each signed, 37 x 32cm. (3).

Pat TOMLINSON (British 20th/21st century) Impala Pastel on paper Signed lower right Framed and glazed Picture size 49 x 29cm Overall size 77 x 57cm

# Roy STRINGFELLOW (British 1921-2008) Still Life Dahlias and Teasels Pastel on paper Signed lower left Framed and glazed Picture size 85 x 48cm Overall size 93 x 56cm

WILLIAM KENTRIDGE (B. 1955)Office Love 2001 signed with the artist's signature woven into the reverse; signed, titled, dated 2003, numbered 3/3 and variously inscribed on a label affixed to the reversemohair, acrylic and polyester tapestry341 by 451.6 cm. 134 1/4 by 177 13/16 in. This work was executed in collaboration with Marguerite Stephens in 2003, and is number 3 from an edition of 3 and 2 APs.Footnotes:ProvenanceAnnandale Galleries, SydneyAcquired directly from the above by the present owner in 2004ExhibitedSydney, Annandale Galleries, William Kentridge: Learning The Flute / Automatic Writing, 2004, illustrated on the cover in colourSydney, S.H. Ervin Gallery, 2004: The Year in Art, 2004 Philadelphia, Philadelphia Museum of Art, William Kentridge Tapestries, 2007-2008, p. 65, no. 17, another example exhibited and illustrated in colourSydney, University of Technology Sydney, 2010-2015, work on loan to the University Another example of this edition is held in the permanent collection of the Philadelphia Museum of Art, Philadelphia.Incisively political and yet profoundly poetic, Office Love belongs to a series of tapestries which William Kentridge began in 2001. This present work is from an edition of three that were executed between 2001 and 2005; the first edition of which is held in the permanent collection of the prominent Philadelphia Museum of Art. The monumental scale and intricate execution of this present work, along with the foundations of cultural and historic sensibility, sets Kentridge apart as an artist who has achieved an extraordinary, compelling contribution to the disciplines of 21st century art. Office Love illustrates an intricate map of Johannesburg with almost life size silhouettes dramatically set against the cartographical formality of the chart. The duality of his composition is arresting; the darkness of his silhouettes, or protagonists, as they so boldly encompass the composition, rest atop the delicate pastel threads delicately woven to construct a map of the city, in an almost collaged fashion. The silhouettes depict a stocky businessman with a typewriter for a head, who purposefully approaches three pieces of what one might decipher as 'feminine' office furniture, the largest of which is a transcriber's table. Interestingly, typewriters started to become standardised in the 1890s, shortly after the years in which Johannesburg was founded and developed as a city. It might be considered that everyday objects such as typewriters recall an early 20th-century colonial world as perceived by the artist that would be apparent to a child growing up in the 50s and 60s.  The title Office Love contributes to the assertion of male and female receptivity and possibly contains a more profound meaning; perhaps the depiction of the stocky male advancing is sexual tension or perhaps it is simply progress in today's age. Born in Johannesburg in 1955, William Kentridge has become one of the most highly regarded and sought after living contemporary artists. He has produced a searing interdisciplinary body of work ranging from drawing, film, animation, theatre, sculpture, tapestry and even opera, that explores themes of colonial oppression and social conflict, loss and reconciliation, alongside the transient nature of both personal and cultural memory.  He seeks to transmute sobering political events into powerful poetic allegories that resonate profoundly, still to this present day. Setting his oeuvre in context, Kentridge was the son of prominent anti-apartheid lawyers; Sir Sydney Kentridge and Felicia Geffen. His father famously defended Nelson Mandela during the Treason Trials of 1956 – 1961, and his mother was a highly respected human rights advocate who set up an organisation to provide free legal support to marginalised members of South African society, that is still in service today. This political background and family lineage proved vital to shaping Kentridge's artistic career.  Upon graduating from the prestigious University of Witwatersrand with a bachelor's degree in politics and African studies, Kentridge enrolled at the Johannesburg Art Foundation, where he studied Fine Arts. His interest in African history and politics remained with him and influenced his work. Due to his parents' involvement in South African politics, Kentridge grew up acutely aware of the injustices in the country, and art became a form of expression for him. Reputed perhaps more widely are his compelling animations that reveal the process of their own creation by showing how individual frames have been drawn, adapted, erased, and otherwise transformed from one image to the next; but William Kentridge introduced the medium of tapestry into his repertoire as another way to tell difficult and harrowing stories akin to his native homeland and the period in which he grew up in. Like his animations, Kentridge's tapestries are also developed from his drawings, the first media his artistic practise evolved from. These preparatory collaged drawings conjure shadowy figures from ripped construction paper which he then collaged onto the web-like background of nineteenth-century atlas maps of Europe and Johannesburg. He began making tapestries in collaboration with the Stephens Tapestry Studio, run by the mother and daughter team of Marguerite Stephens and Tina Weavind, whom he would collaborate with for 24 years. The tapestries are woven from mohair harvested from Angora goats farmed in the Eastern Cape, South Africa, and in Lesotho. The raw mohair was processed and dyed in northern Eswatini before being transferred to the looms at the studio in Diepsloot on the outskirts of Johannesburg. The mapping of geography across many South African cities to produce these tapestries, perhaps speaks to Kentridge's heritage and underlying political preoccupations that resonated in his art. Kentridge's tapestries, which included the first edition of Office Love, were the subject of an important exhibition dedicated solely to this medium organised by the Philadelphia Museum of Art in 2007. Exhibited were eleven works from a multiple of series that showcase similar silhouetted figures set against the backdrop of maps, carrying bundles and belongings as they move forward. The backgrounds of the beautifully woven and embroidered maps, along with the juxtaposition of hulking figures couldn't be more direct. The curator of the exhibition, Carlos Basualdo, explained, 'Kentridge initially thought of his tapestries as 'permanent projections. While they evoke the moving image, his tapestries also illuminate the centrality of drawing in his practice. He uses the language of one medium to talk about another medium, while at the same time dealing with societies that are themselves in a state of transition'.  (Carlos Basualdo, William Kentridge Tapestries https://philamuseum.org/calendar/exhibition/notationswilliam-kentridge-tapestries, 19 September 2023). It is plausible to argue that no other South African artist has achieved greater status than William Kentridge. His career has brought him international recognition as one of today's major living artists. This reputation is confirmed by the stature of the global institutions and art museums that have exhibited his work. 

SHARA HUGHES (B. 1981)Drawing for 'Choose your angle' 2009 signed and dated 09; signed, titled and dated 2009 on the reverseacrylic, oil stick, pastel, watercolour, marker pen, glitter and paper collage on paper 63.5 by 49.5 cm. 25 by 19 1/2 in. Footnotes:Provenance Museum 52, LondonAcquired directly from the above by the present owner in 2009This 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

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Yoruba Woman in Blue signed and dated 'BEN ENWONWU/1973' (lower right); numbered '31', '24', '47' (verso of original stretcher)oil on canvas81 x 53cm (31 7/8 x 20 7/8in).(framed)Footnotes:ProvenanceA private collection, Lagos;The collection of Andreas Vracas;By direct descent to the current owner;A private collection.ExhibitedLagos, US Embassy: United States Information Service, (April 14-20th 1973), no, 31. As a monumental work in the artist's oeuvre, Bonhams is thrilled to present Yoruba Woman in Blue by the exemplary African modernist artist, Ben Enwonwu. In subject to technique and composition, the present work can draw many parallels to some of the artist's most beautiful and successful works to sell at auction, namely the Tutu series. These parallels distinguish this iconic portrait as a work of art that should be held with the highest regard within the artist's highly distinguished career.Engaging the female subject and an exploration of femininity was a popular thematic practice for Enwonwu in the early 1970's that is also seen in the Tutu series whose subject has been precisely concluded as depicting Adetutu Ademiluyi. This is contextually significant for Enwonwu. Indeed, Enwonwu's Nigerian heritage remains ever present in works such as the present lot. The Igbo culture championed women in the community as pillars of society. Adorned in a Gele, possibly Adire dyed clothes, jewellery, and with the long neck that is synonymous with other depictions of women, it is indisputable that the subject of the present lot is a woman held in high esteem and regard. Enwonwu also believed in entering into a modern Nigerian aesthetic, incorporating his formal training in Western portraiture with his traditional Igbo philosophical tropes. He stated 'the tradition of African art has followed a line of non-representation [and] will change its course in accordance with the infiltration of western [sic] culture. Whatever the neo-African culture is today, art should express it and should employ all the native and acquired means that are possible.' (Enwonwu quoted in Ogbechie, 2008: p. 79). Leaving Nigeria for London in 1944 to pursue his artistic education, Enwonwu enrolled at the Slade School of Fine Art, before being admitted to Ruskin College at the University of Oxford upon the outbreak of the Second World War. During his time at university, Enwonwu wrote his intentions for his artistic style and career in August 1943:'I am keeping my art African – even if I stay in England for 60 years, I will still figure in my works, a plain blunt African. I believe very strongly in being myself and to be original and African.' In many ways, this work resonates with the pastel drawing by the artist; Portrait of a Yoruba lady sold by Bonhams in 2016. It could be concluded that, as both the drawing and present oil painting were completed in the same year of 1973, Portrait of a Yoruba lady was perhaps a preparatory drawing for this captivating painting. While slightly differing in the angle and adornments of the subject, both profiles present us with a Yoruba woman. Moreover, both portraits present an emphasis on the compositional technique that the artists employs, by which he illuminates the subjects from the left-hand side. Again, this element of the works strongly resonate with the paintings of the Tutu series.Resonating further with the Tutu series and due to the present work's exhibition records and numbers inscribed on the original pre-restorative stretcher (included with this lot), it is highly likely that this work preluded the Tutu series. In an exhibition record of April 1973, it could be concluded that, given these lot numbers, it is highly likely that this work was included. While two numbers on the stretcher, numbers 24 and 47, have a line drawn through them implying perhaps a mistaken numerical labelling, all three numbers insinuate works of a similar content to the present work. Decisively, number 31 remains uncrossed, thus concluding this title. Given the work's exhibition information and Yoruba Woman in Blue's visual similarities, it could furthermore be concluded, that the present work pre-empted the Tutu paintings, the first of which was painted in December 1973. Moreover, emphasising the striking qualities that Enwonwu incorporated in his works that carried through over the year. In sustaining elements of colour use, composition and light, we gain an understanding that the artist felt these elements held gravitas and importance within his portraits. However, the present work is not as contrasted in palette as the Tutu works, presenting itself more fluid in palette. The artist's use of teal blue, not only in the robes of the figure, but also as his base layer of the background before more yellow shades were applied, assists a glowing hue providing a mysticism to the work. This technique can also been seen in his work Isaiah the Driver(1968) completed some years before the present work. Interestingly, the yellow application on the background is rare within the artist's portraiture of women, where darker backgrounds seemed to be his preference with a Caravaggio essence, therefore contributing to the rarity of the present work.BibliographySylvester Okwunodu Ogbechie, Ben Enwonwu: The Making of an African Modernist (Rochester, NY: 2008)For further information on this lot please visit Bonhams.com

Dante Langtry Lynas R.U.A. (early 20th century) Coastal scene with sailing boats Signed, pastel37 x 50cm (framed 59.5 x 72.5cm)The drawing is in very good, original condition with no obvious faults to report. The drawing is ornately framed and glazed. There is some discolouration across the mount and frame. The original frame has some minor scuffs and knocks commensurate with age.

Attributed to Daniel GARDNER (1750-1805) Family group with Nanny Pastel on handmade paper, 67x97 oval. Typical Gardner style frameNote: Kenwood House, Gardner exhibition 1972, in Helen Knapp's exhibition catalogue, she writes: "He liked to see his work in a certain kind of carved gilt frame, which he probably designed himself.... ...It is most attractive, and to find a painting in an original 'Gardner' frame is not only a pleasure, but usually an indication that it is, in fact, a Gardner." This work was conserved by Joanna Payne. See the images indicating the extent of work done. The family is unknown.

Two works by Eef de Weerd. 1926 - 1989 Hengelo. Two colorful abstract compositions. Pastel on paper. Dimensions: H 63 x W 48 cm. In good condition.

Hendrik Petrus Berlage. 1856 - 1934. Parrot on branch. Pastel on paper. Dimensions: H 50 x W 35 cm. In good condition.

Old pastel-colored Syrian carpet with floral decor. Color: light blue, cream, pink. Dimensions: 250 x 168 cm. In good condition.

* ALBERTO MORROCCO RSA RSW RP RGI LLD (SCOTTISH 1917 - 1999), THE ITALIAN LADY pastel on paper, signed and dated '72framed and under glassimage size 92cm x 72cm, overall size 99cm x 79cm

MARY GEORGINA WADE WILSON (SCOTTISH 1856 - 1939), VIOLAS pastel on paper, signed, titled versomounted, framed and under glassimage size 22cm x 37cm, overall size 37cm x 51cm

SCOTTISH SCHOOL, HARRIS, OUTER HEBRIDES pastel on paper, signed 'M H Cunningham'mounted, framed and under glassimage size 32cm x 42cm, overall size 47cm x 55cm

* ALEXANDER GRAHAM MUNRO RSW (SCOTTISH 1903 - 1985), ALGIERS, STREET SCENE pastel on paper, signed, titled and dated 1926mounted, framed and under glassimage size 29cm x 43cm, overall size 52cm x 65cm

KEN CURRIE (BRITISH B.1960) THE JEW AND OTHER STORIESsigned, titled, and inscribed with the measurements and the medium and dated 1993 on the reversepastel, charcoal, oil pastel and beeswax on paper31 x 23cm; 12 1/4 x 9in57 x 47cm; 22 1/2 x 18 1/2inProperty from a Private Collection, ChelseaProvenanceRaab Boukamel Gallery, LondonPurchased from the above by the husband of the present owner.

Peter Howson OBE (British, born 1958)Refugees signed 'HOWSON' (lower right)charcoal and pastel29.5 x 22cm (11 5/8 x 8 11/16in).Footnotes:ProvenanceWith St Andrews Fine Art, St Andrews, 2005.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Joan Eardley RSA (1921-1963)Georgie signed 'JEardley' (lower left), signed 'Joan Eardley' (verso)pastel and charcoal on glass paper28 x 23cm (11 x 9 1/16in).Footnotes:ProvenancePrivate Collection, AustraliaThis study of a young boy is an archetypal example of works Eardley produced in the mid 1950s in Glasgow. She was well-known locally, and children flocked to her studio in search of a sweet treat in exchange for a few minutes of modelling. Most of these studies were in pastel, a medium which lent itself to deft, colourful depictions of restless 'weans'. The picture utilises pure colour to great effect, particularly prominent is the vibrant blue she used to underpin Glasgow pictures throughout her career.Georgie, not one of the Samson children, has appeared in other sketches by Eardley. His distinctive short brush-like hair and outfit match a rear view study sold by Bonhams in 2011, presumably sketched in the same session. (Bonhams, Edinburgh, 8 Dec 2011, lot 68, 'Toddler').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

BERNARD MYERS (1925-2007) SEATED NUDES - A PAIRboth: signed B MYERS on reverseoil pastel(i) 19.5 x 20.5cm; 7 3/4 x 8in(ii): 25 x 19.5cm; 9 3/4 x 7 3/4inboth: 29.5 x 21cm; 11 1/2 x 8 1/4in (sheet)(unframed)(2)ARR may apply

BERNARD MYERS (1925-2007) UNTITLED (BLUE AND GREY)signed with the initials and dated 74 lower rightpastel52.5 x 72cm; 20 1/2 x 28 1/4in62.5 x 85.5cm; 24 1/2 x 33 3/4in (framed)With the studio inventory number 0222 on the reverseARR may apply

BERNARD MYERS (1925-2007) STANDING FEMALE NUDES - A PAIRboth: signed B MYERS on the reverseoil pastelboth: 25 x 18cm; 9 3/4 x 7inboth: 29.5 x 21cm; 11 1/2 x 8 1/4in (sheet)(unframed)(2)ARR may apply

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) FOUR FIGURES FOR A MURALdated 28.6.61 lower leftpastel and gouache68.5 x 34cm; 27 x 13 1/2in (unframed)ARR may apply

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) THE ASCENSION brown pastel with black and white chalk 61 x 47cm; 24 x 18 1/2in (unframed)Executed in 1957; a preparatory study for the figure of the Risen Christ for The Ascension for All Saints Church, Plumstead, London SE18. See Hans Feibusch The Heat of Vision, 1995-96, nos. 39 & 40 for another sketch of the same figure and the overall design of the mural; see also p. 25, M21, the mural listed.ARR may apply

ALBERT RUTHERSTON (BRITISH b.1881-d.1953) THE SANDCASTLE BUILDERS - (I) & (II) (ii) signed and dated Albert R 32 lower rightboth: pastel over pencil(i) 31 x 24.5cm; 12 x 1/4 x 9 1/2in50.5 x 43cm; 19 3/4 x 17in (framed)(ii) 24 x 26cm; 9 3/4 x 10 1/2in46 x 51cm; 18 x 20in (framed)(2)Depicted are Rutherston's wife Marjory (née Holman), an actress whom Rutherston married in 1919, with their two sons David and Michael.

BERNARD MYERS (1925-2007) BLUE CASCADEsigned with the initials and dated 73 lower rightpastel51 x 73.5cm; 20 x 28 3/4 in68.5 x 89cm; 27 x 35in (framed)With the studio inventory number 0123 on the reverseARR may apply

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) DIANA AND ACTAEONchalk and pastel45.5cm x 61cm; 18in x 24in65.5cm x 79.5cm; 27 1/4in x 31 1/4in (framed)Executed circa 1934.ExhibitedHans Feibusch, The Heat of Vision, 1995-96, no. 7, illustrated in the catalogueARR may apply

HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) LATONA AND THE FROGS black and white chalks71 x 49cm; 28 x 19 1/4in (unframed)Executed circa 1934. There is a sketch of a standing woman with a frog on the reverse. The subject derives from ancient story of the Goddess Latona turning the Lycian peasants into frogs after they prevented her from bathing and feeding her children Artemis and Apollo in a spring. For the related pastel see: Hans Feibusch, The Heat of Vision, 1995-96, pl. 3. ARR may apply

BERNARD MYERS (1925-2007) (i) BLUE ANEMONIES; (ii) RED FLOWERS IN A VASE - A PAIR(i) signed B MYERS lower right; (ii) signed with initials lower leftoil pastel34.5 x 24cm; 13 1/2 x 9 1/2in48 x 36cm; 18 3/4 x 14 1/4in (mount)(2) With the studio inventory numbers 0688 and 0689 on the reverseARR may apply