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CLEMENT MCALEER (IRISH, B. 1942) CROSSROADS,Signed, pastel on paper 107cm x 99cm (39in x 42in)

CAROL MOORE (SCOTTISH, CONTEMPORARY) STILL LIFE WITH LAVENDER Signed, pastel on paper 59cm x 59cm (23.5in x 23.5in)

CAROL MOORE (SCOTTISH, CONTEMPORARY) STILL LIFE WITH APPLES AND PEARS Signed, pastel on paper 65cm x 96cm (25.5in x 37.75in)

CAROL MOORE (SCOTTISH, CONTEMPORAY) LEMON LIMES AND MACKAREL Signed, pastel on paper 50cm x 55cm (19.75in x 21.5in) Provenance: The Gallery Glasgow

CAROL MOORE (SCOTTISH, CONTEMPORARY) STILL LIFE WITH CHILLIES AND OLIVE OIL Signed, pastel on paper 68cm x 70cm (26.75in x 27.5in)

BRIDGET MACDONALD (BRITISH, B.1943) ABESS OF THE BEES Signed and dated 1999, charcoal and pastel on paper 60.5cm x 45.5cm (23.75in x 18in)

BRIDGET MACDONALD (BRITISH, B. 1943) DARK APRIL, 1999 Pastel on paper 60.5cm x 45.5cm (23.75in x 18in) Provenance: Art First London

BRIDGET MACDONALD (BRITISH, B. 1943) CUTTING FLOWERS Signed and dated 1999, charcoal and pastel on paper 122cm x 79cm (48in x 31in)

A Clarice Cliff Newport Pottery waterlily bowl in pastel colours, printed marks to base and impressed mark 973

A collection of 19th century Staffordshire wares comprising four flatbacks, three iron red spaniels, all a/f and five cottage pastel burners/money boxes (14)

Ian Hay '91 pastel in glazed frame entitled on reverse - After rain Westminster, signed and dated 38cm x 54cm

Pair of 19th century continental porcelain figures, dressed in period attire and painted in overglazed pastel colours raised on shaped base impressed 3248, ht 40cm

CAPTAIN ARTHUR LUCIUS FALKLAND CARY, SIGNED AND DATED 1954, PASTEL, Inscribed Verso “Salhouse Broad”, 10” x 14 ½”

CAPTAIN ARTHUR LUCIUS FALKLAND CARY, SIGNED PASTEL, The Broad South Walsham (see label verso), 14” x 18”

CAPTAIN ARTHUR LUCIUS FALKLAND CARY, SIGNED PASTEL, In Salhouse Broad (see label verso), 14” x 18”

CAPTAIN ARTHUR LUCIUS FALKLAND CARY, SIGNED PASTEL, South Walsham Broad (see inscription verso), 9” x 13”

*MARGARET GLASS, SIGNED PASTEL, “Sunlight and Showers, Near Beccles”, (see inscription verso), 17” x 23”

WILFRED GABRIEL DE GLENN, BEARS MONOGRAM, PASTEL, Study of a Child, 11” x 9”, plus one other Child Study by another hand (2)

ANGELA HARVEY KELLY, SIGNED PASTEL, Study of a Corgi, 12” x 14”

MARJORIE COX (1915-2003) "Rusty of Rossarden" and "Findosa of Prideaux, 1948-61", a pair of dog studies, crayon and pastel, each signed, inscribed and dated 1962, 28 x 23 cm and 25.5 x 20 cm respectively

MARJORIE COX (1915-2003) "Charlie", a study of a dog, crayon and pastel, signed, inscribed and dated 1974, 45 x 42 cm

IN THE MANNER OF HENRY MOORE (1898-1986) "Study of three figures", chalk and pastel, unsigned, bears label verso inscribed "Henry Moore Foundation, Dane Tree House, Perry Green, Hertfordshire", 28 x 18 cm (ILLUSTRATED)

JULIUS OLSSON (1864-1942) "Tranquil moonlit seascape", chalk and pastel, unsigned, inscribed in pencil verso, 16.5 x 24 cm

English School, early 19th Century GENERAL T GRAHAM BALFOUR (as a young officer) half length portrait pencil and pastel, 40cm x 30cm (15.75" x 11.75")

sonia Lawson R.A., M.A.(RCA) (b.1934) v "Amsterdam Ladies" signed, also inscribed with the title and inscribed on an exhibition gallery label verso, pastel and charcoal on two separate sheets of paper, 42cm by 59cm provenance: With Jonleigh Galleries, The Street, Wonersh, Guildford ex. collection P. Cox Esq., March 1992

jane M. Parkin (20th/21st century contemporary) v ballerina in a Studio signed and dated "90" (1990), also extensively inscribed on an exhibition label verso, pastel drawing, 27cm by 40cm exhibited at the Mall Galleries (The Federation of British Artists), 17 Carlton House Terrace, London SW1, with the original price of £225; together with her address in Haworth

godfrey Tonks (b.1948) v “Sunflower Fields of France" signed, also extensively inscribed on various labels verso with the title of the work, pastel drawing, 99.5cm by 115cm provenance: With the Medici Galleries, 7 Grafton Street, London W1X 3LA, the original price of £4500, serial no. 988P See illustration

godfrey Tonks (b.1948) v "Almond Orchards and Poppies" signed and dated "96" (1996), also inscribed on various exhibition labels verso, pastel drawing, 104cm by 104cm provenance: With the Medici Galleries, 7 Grafton Street, London W1X 3LA, with the original price of £3000, serial no. 831P See illustration

godfrey Tonks (b.1948) v "Village in the Ardeche" signed, also inscribed with the title of the work on an exhibition label verso, pastel drawing, 39cm by 49cm provenance: With the Medici Galleries, 7 Grafton Street, London W1X 3LA, with the original price of £525

godfrey Tonks (b.1948) v "Landscape with Windmill" signed, also inscribed on the frame verso, pastel drawing, 39.5cm by 49cm

david Napp (b.1964) v cyprus Trees beside a Country Lane signed, pastel drawing, 36cm by 52cm

john Mackie (b.1955) v "Morning Poppies, Sanary" signed and dated "94" (1994), also inscribed on an exhibition label verso together with a further label and numbered "24" and "5", pastel drawing, 40.5cm by 58cm provenance: With Walker Galleries Ltd (Fine Paintings), 6 Montpellier Gardens, Harrogate HG1 2TF See illustration

john Mackie (b.1955) v "A Summer Breeze, Sanary" signed and dated "94" (1994), also inscribed on an exhibition label verso together with a further label and number "36", pastel drawing, 40cm by 57.5cm provenance: With Walker Galleries Ltd (Fine Paintings), 6 Montpellier Gardens, Harrogate HG1 2TF

ENGLISH SCHOOL HOOK STITCH CARPET, 1930S the field with geometric, nautical, bird and sun decoration in pastel shades

Royal Worcester porcelain cabinet coffee can and saucer painted with sailing boats, pattern 8562; pair of Royal Worcester porcelain cabinet cups and four matching saucers painted with rose garlands in pastel shades; Royal Worcester blush ivory cabinet cup and two saucers painted with flowers (cup a.f) (11)

French School, mid 19th century- Portrait of a young woman, half length, wearing a blue silk dress and holding a rose; pastel, bears signature Fantin Latour, bears label for H Jeanbin, Paris attached verso, 27x60cm, oval,

M Tate, late 20th century- Busy Harbour view; pen, black ink and watercolour wash, signed: together with three other similar pen and black ink watercolour wash studies, each signed, by the same hand, 24x33cm., ea: together with four further late 20th century pastel, gouache and print studies by and after various hands (8) (may be subject to Droit de Suite)

A honey comb patchwork cover, made up with variously patterned pastel coloured material; together with a crewel work panel depicting a leaf and floral design overall set within borders and worked in blue, green and pink coloured wools, and a quantity of table linen to include table and tray cloths mainly early to mid 20th century to include woven and cutwork examples (qty).

Alexander Graham Munro RSW (1903-1985) Washing hanging above a Mediteranian street pastel, 58x47cm Plus VAT

Alexander Graham Munro RSW (1903-1985) Fishing boats, Martiques Pastel sketch, 46x59cm Plus VAT

Pat Douthwaite (1939-2002) Girl with Kite Pastel, 63x48cm

Frank McFadden (Modern) ARR Faces Signed pastel, '07, 61x45cm

Early Victorian oval portrait "Young Lady", charcoal, chalk and pastel on paper, unsigned, inscribed verso, 21 x 16 cm, in gilt frame

PAIR OF VICTORIAN STAFFORDSHIRE PASTEL BURNERS, 9 CM HIGH (3 CHIMNEYS DAMAGED) AND A ROCKINGHAM SPANIEL, 5 CM HIGH (REPAIR TO BASE)

A pastel drawing of a spaniel entitled "Peg 1961", by Marjovic Cox

A Ludwigsburg Figure Group, modelled as a courting couple, seated on a wall, he a basket of grapes at his feet, painted in pastel glazes, on a rocaille base, underglaze blue mark circa 1790, 15 cms high.

James Luntley Exh. RA from 1852 Half length portrait of Garibaldi in a blue uniform with scarlet sash, pastel, signed, 67cm by 48cm (a similar portrait is in the Victoria & Albert Museum)

Circle of Francis Alleyne, (late 18th century), A portrait of a lady, half length, in a white dress, pastel, 32cm x 25cm. See Illustration.

A rare Second World War Fall of France 1940 D.C.M. awarded to Regimental Sergeant-Major C. W. J. Roby, Oxfordshire and Buckinghamshire Light Infantry distinguished Conduct Medal, G.VI.R. (5378576 Sjt. C. W. J. Roby, Oxf. & Bucks. L.I.), good very fine £3000-3500 d.C.M. London Gazette 20 August 1940: ‘For gallant and distinguished services in action in connection with recent operations.’ Christopher William James Roby, a reservist who rejoined the Oxfordshire & Buckinghamshire Regiment on the outbreak of war, was decorated for his gallantry as a Sergeant in ‘C’ Company of the 4th Battalion, in May-June 1940, and, more specifically, for holding his position at Mai Cornet: ‘As the light tanks [of the 13th/18th Hussars] reached the houses on the north side of the road at Mai Cornet, they found Sergeant Roby with two sections of his platoon of ‘C’ Company, some of whom were wounded, still holding his post. His presence had been unknown to Regimental H.Q. He himself had made several attempts to get across during the attack to report, but was driven back to cover by fire. He accordingly held his post, unconcerned by what was happening, until the counter-attack appeared. For his gallantry, Sergeant Roby was awarded the Distinguished Conduct Medal.’ Regimental records also refer to the fact that Roby and his men drove off several determined attacks before the arrival of the 13th/18th Hussars. his subsequent award of the D.C.M. was one of 12 to the Regiment for the 1939-45 War, three of which stemmed from operations in France and Belgium in 1940, but it was Roby who was chosen by his seniors to sit for the artist Eric Kennington, in 1942, when a candidate was required to represent the courage of the Regiment’s N.C.Os and men during the stand at Cassel, and elsewhere, on the retreat to Dunkirk. Described as a very fine portrait in pastel, it was purchased by the officers of the Regiment after being exhibited in London. regimental records describe a further act of bravery by Roby: ‘On the 13 January 1941 occurred an incident which caused the Divisional Commander to direct that an appropriate entry should be made on the conduct sheet of C.S.M. Roby in accordance of paragraph 1718 (B) of the King’s Regulations, 1940. The following extract from the war diary describes the occasion: no. 5378576 C.S.M. C. Roby, D.C.M., was instructing in the throwing of live grenades on Willsworthy ranges on Monday, 13 January 1941, when a soldier, who had withdrawn the safety pin from a grenade, failed to hold the lever down with his fingers, with the result that it flew away, thus actuating the firing mechanism. The soldier was in the throwing position when this occurred and, apparently losing his nerve, he dropped the grenade on the floor of the throwing pit, in which he and C.S.M. Roby were standing. About four seconds had then elapsed from the time the lever had sprung clear, but C.S.M. Roby, with great presence of mind, kicked the grenade round the corner of the wall between the bays, at the same time pulling the soldier with him on the ground. The grenade immediately exploded and C.S.M. Roby’s presence of mind undoubtedly prevented a serious, if not fatal, incident.’ Roby, who by one account was best described as ‘fit and fearless’, was advanced to Regimental Sergeant-Major at Petworth, Sussex, in 1944, where the Regiment was based on the eve of its departure for North-West Europe, and he was serving as R.S.M. of the 1st Gloucester Battalion in Germany at the War’s end. £3000-£3500

J S Warwick Saddled Hunter in a stable signed lower left dated 1844 pastel 35 x 43 cm in a rosewood frame

Two 19th Century French faience “Toby” jugs modelled in the form of “The Snufftaker” and “Hearty Goodfellow”, both decorated in pastel shades of blue, green, yellow and brown, with the standing pot-bellied figures wearing blue tricorn hats and mottled bases, 10.5ins and 11.5ins high (latter Toby jug with glaze lifting around base and to right hand)

Hercules Brabazon Brabazon (1821-1906) - Pastel heightened in watercolour - View of the Rialto Bridge, Venice, 5.5ins x 7.5ins, and one other watercolour sketch of fishing boats, 5ins x 8.25ins, both signed with initial, framed and glazed

Norman Smith, tilted sunlight and shadow Grand Canal signed, pastel, h: 10 x w: 12 in.

Wilfred G. May, in the style of William Russell Flint, pastel portrait of a young girl with red hair, 10" x 8", and four other portraits W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. . . . . .

Wilfred G. May, in the style of William Russell Flint, pastel portrait of a young girl with blonde hair, Signed and dated 96', 13" x 10", and four other portraits W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, in the style of William Russell Flint, pastel of a reclining nude, signed and dated l992 W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 15 x w: 17 in.

Wilfred G. May, in the style of William Russell Flint, pastel of a dancer in a blue tutu, signed and dated '95, and five other nude portraits, W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 12 x w: 9 in.

Wilfred G. May, in the style of William Russell Flint, pastel of a reclining nude draped in fur, unsigned, 17" x 21" W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, in the style of William Russell Flint, pastel of a girl in a white dress seated on a log, signed and dated' 95, 15" x 19", and another of a dancer signed and dated '94, 13" x 15" W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, pastel sketch of a girl with blonde hair in suspenders, unsigned, circa 1940, and five others W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 14 x w: 12 in.