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A XIX Century Print 'The Covenanter', a XIX Century print of a man and a horse, W.S Towgler? pastel of a sun set, signed in the middle of picture, together with two other pictures. (5)

T Leighton (Derbyshire Artist), Farmer and Sheepdog on Country Track, pastel drawing, signed lower right, 26 x 36cm.

Robert Lesley Howey (1900-1981)''The River Tees'' Signed in pencil, signed, inscribed and dated 1974 verso, pastel, 11cm by 15cm

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) THE BLUE PINAFORE Signed, pastelDimensions:14.5cm x 10cm (5.75in x 4in)Provenance:Provenance:Acquired in 1955 from The Scottish Gallery, Edinburgh and thence by descent to the Executors of the Late Mrs Anne WalkerNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

FRANCIS CAMPBELL BOILEAU CADELL R.S.A., R.S.W. (SCOTTISH 1883-1937) MULL FROM IONA Signed, inscribed verso 'G. W. Service', oil on boardDimensions:37cm x 44.5cm (14.75in x 17.5in)Provenance:Provenance:George W. Service, GlasgowLyon & Turnbull, Edinburgh, Fine Paintings, 3 December 2008, lot 128, where acquired by the present owner Note: Exhibited: Royal Academy of Arts, London, Exhibition of Scottish Art, 6 January-11 March 1939, no. 597 (lent by George Service, incorrectly catalogued as pastel)Note: This painting was one of eight works by Cadell shown in the landmark exhibition of Scottish art held at the Royal Academy of Arts in London in 1939; it was one of three lent by the shipowner George Service. Its entry in the catalogue read: 'A summer scene. Looking from fields in Iona across the Sound to Mull.' Whilst serving in World War One, Cadell wrote to his fellow Scottish Colourist S. J. Peploe:When the War is over I shall go to the Hebrides, recover some virtues I have lost. There is something marvellous about those western seas. Oh, Iona. We must all go together. (quoted in Alice Strang et al, S. J. Peploe, National Galleries of Scotland, Edinburgh, 2012, p.24)True to his word, Cadell introduced Peploe to the Hebridean island, off Scotland’s west coast, in 1920 and they returned there most summers for the rest of their lives. Cadell first visited Iona in 1912, possibly because it was owned by his friend Ivar Campbell’s uncle, the 9th Duke of Argyll. He may also have been encouraged to do so by the fact that his friend John Duncan began painting there in 1903, followed by James Paterson and William Caldwell Crawford.As Alice Strang has explained:Iona has many attractions for the artist…It is low-lying, so the light reflected from the surrounding sea intensifies the colours of the white sand beaches and the green of its pastures. The light shining through the shallow waters at the edge of the shore creates brilliant colours of emerald green, blue and violet. In addition, the light and weather change frequently, as the prevailing winds cause a quick succession of cloudy then clear intervals. Iona is known for its geological diversity and there is a wide variation of colours in its rock formations; the red granite of the Ross of Mull is easily visible across the Sound on the east coast, as is the mountain of Ben More. There are also numerous views beyond Iona, particularly from the north end towards Staffa and the Treshnish Islands. On the island itself the main architectural features are the Abbey, the Nunnery and related buildings, the village and scattered crofts. (Alice Strang, F. C. B. Cadell, National Galleries of Scotland, Edinburgh, 2011, p.77)In 1903 Duncan moved to Edinburgh from America, where he had been teaching art at the Chicago Institute. A visit to Iona helped him to plan for the future and ‘he started by making a vow to devote his time to the realisation of spiritual art and to gather the crops of his imagination rather than let them rot in untended fields.’ (John Kemplay, The Paintings of John Duncan A Scottish Symbolist, Rohnert Park, 1994, p.43). Duncan played a key role in the Celtic Revival which blossomed in the 1890s and Iona provided the setting for some of his most important Symbolist works, which celebrated Celtic mythology; it was also where he is reported to have encountered Gaelic fairy-folk for the first time. Such was the inspiration that the island afforded Duncan, that he was to work there, on and off for forty years, often at the same time as Cadell and Peploe.Duncan’s Cathedral Rock from the North End of Iona (Lot 156) shows a view made famous by the more well-known images of the scene by his Scottish Colourist friends. Cathedral Rock is part of the headland at the extreme north-east corner of the island and is the location of some of its most dramatic geology. The view shown is out to Eilean Annraidh, Staffa and Mull.Auchabhaich Croft first appears in Cadell’s Register of Pictures (Private Collection on long-loan to the National Galleries of Scotland) in 1914 (work no.30), presumably painted during his trip to the island the preceding year. It is one of the crofts situated north of the village and Cadell was to paint it on many occasions, not least as it was not far from Cnoc cùil Phàil, the croft on which he most frequently stayed after the War. The buildings depicted nestled within Auchabhaich Croft, Iona (Lot 153) still exist, albeit extended in various directions. A T. & R. Annan & Sons Ltd label on the painting’s reverse gives it the title ‘Nightfall Iona’ and the image appears to capture the gentle light of the gloaming, as evening falls over the peaceful scene, with its reach to the Paps of Jura in the distance.Mull from Iona (Lot 157) leads the eye from a patchwork quilt of fields across the Sound to the neighbouring island, with particular attention paid to the tumult of weather conditions played out across the sky. This painting formerly belonged to Cadell’s great patron, the shipowner George W. Service, who holidayed on Iona. He reportedly donned a tartan dress jacket for the night of his annual purchase of work by Cadell and appears regularly in the artist’s Register of Pictures from 1913 until 1927.Service would often make multiple acquisitions at a time, usually but not exclusively images of Iona, commissioned portraits of some of his children and supported the artist’s sales in exhibitions such as those mounted by the Society of Eight in Edinburgh. His support sometimes formed the backbone of Cadell’s income, for example when he purchased fourteen works in 1921 for a total of £725, which was 40% of Cadell’s recorded total sales of £1,786 for the year. Two years after Cadell’s death, Mull from Iona was one of three works lent by Service to the landmark Exhibition of Scottish Art mounted at the Royal Academy of Arts in London.Peploe was nearly fifty years old when he first painted on Iona. He was thus able to approach its visual possibilities with the experience of a mature artist and was particularly drawn to the natural beauty of the north end and the views from it. Treshnish Point from Cows Rock (Lot 154) was painted in this area; its dramatic composition sees the beach and protruding rocks occupy all but the upper fifth of the image. Peploe’s technique uses the materiality of oil paint to convey a sense of the texture of sand and weathered rocks, around which inviting paths meander. Between the alluring blue of the sea and the active sky can be glimpsed the west end of Eilean Annraidh in the middle distance and Treshnish Point on the horizon. A closely related painting by Peploe, Iona, Grey Day, is in the collection of Aberdeen Art Gallery and Museums.

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) INDUSTRIOUS Inscribed on label verso, pastelDimensions:47cm x 35cm (18.5in x 13.75in)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) A GLASGOW BOY Signed, pastelDimensions:19cm x 10cm (7.5in x 4in)Provenance:Provenance: Bourne Fine Art, EdinburghNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) CHILDREN PLAYING MARBLES With the Artist's Estate Inventory Number ED958, watercolourDimensions:28cm x 28cm (11in x 11in)Provenance:Provenance: The Artist's EstatePrivate Collection, ScotlandDuncan R. Miller Fine Arts, LondonExhibited: The Scottish Gallery, Edinburgh, Joan Eardley, Paintings, Watercolours, Pastels and Drawings, 1988, no.11 Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) BOY WITH BLUE TROUSERS PastelDimensions:45cm x 33cm (17.75in x 13in)Provenance:Provenance: William 'Bill' Macaulay and thence by descentPrivate Collection, U.S.A Note: Exhibited: The Scottish Gallery, Joan Eardley in Context, 6 August-5 September 2015, no.16Note: This is a portrait of Martin Macaulay and is one of several studies of the five children of William 'Bill' Macaulay, Senior Partner of The Scottish Gallery, Edinburgh, which Eardley executed in 1960. The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) PORTRAIT STUDY Pastel on coloured paperDimensions:16cm x 18.5cm (6.25in x 7.25in)Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) GINGER With the Artist's Estate Inventory Number EE30 verso, oil on boardDimensions:43cm x 37cm (17in x 14.5in)Provenance:Provenance: Roland, Browse and Delbanco, LondonNote: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

§ JOAN EARDLEY R.S.A. (SCOTTISH 1921-1963) TWO CHILDREN Pastel on brown paperDimensions:25.5cm x 20cm (10in x 8in)Provenance:Provenance: Acquired from the Artist’s Estate by the father of the present owner.Exhibited: Royal Scottish Academy, Edinburgh, Joan Eardley, 6 November 2007-13 January 2008Note: Note: The Townhead district of Glasgow and the fishing village of Catterline, on the north-east coast of Scotland, provided the locations and communities which inspired much of Joan Eardley’s oeuvre, revealing her deep sense of place and people in works which have secured her a leading place in British art history.As Fiona Pearson has explained:Eardley was a strong, passionate painter who was totally engaged in depicting the life forces around her, everything from children to nature…Eardley’s deep love of humanity was manifest in images of the resilience of the human spirit among the poor, the old and the very young…[She reminds…] Scots of lost tenement communities and the wild natural beauty of the landscape. (Fiona Pearson, Joan Eardley, National Galleries of Scotland, Edinburgh, 2007, pp.8-9)In 1953 Eardley moved into a studio at 204 St James Road in Townhead, above a scrap-metal merchant’s premises. The area was of mixed residential and light industrial use, was rundown and overcrowded, yet she was drawn to its vibrancy, declaring:I like the friendliness of the back streets. Life is at its most uninhibited here. Dilapidation is often more interesting to a painter as is anything that has been used and lived with – whether it be an ivy-covered cottage, a broken farm-cart or an old tenement. (As quoted in Patrick Elliott and Anne Galastro, Joan Eardley: A Sense of Place, National Galleries of Scotland, Edinburgh, 2016, p.14).Eardley became a familiar figure sketching and photographing in the streets, drawn to the games and squabbles of the neighbourhood’s children and to evidence of lives lived in and amongst its decaying architecture. She worked spontaneously, at speed and often on the modest scale afforded by pocket sketchbooks, using larger sheets, chalks and pastels when developing imagery on return to her studio.Works such as Children Playing Marbles (Lot 166) show how Eardley instinctively empathised with childhood emotions, as a group of youngsters are absorbed in the drama of a competitive game. In The Blue Pinafore (Lot 167) a child is caught in moment of contemplation. Her facial expression is depicted with tenderness and her unselfconscious pose speaks of innocence, whilst the thick application of pastel – sometimes highly coloured – signifies form and the artist’s energetic technique.As Eardley became known in Townhead, so her natural rapport with the local children developed and some came to her studio to sit for her. She recalled:Most of them I get on with…some interest me much more as characters…they don’t need much encouragement: they don’t pose…they are completely uninhibited and they just behave as they would among themselves…They just let out all their life and energy they haven’t been able to at school. (As quoted in Elliott and Galastro, op.cit., p.48)The studio works could be more considered, as seen in Studies of Amanda (Lot 174) and Portrait Study (Lot 173). Boy with Blue Trousers (Lot 172) shows the ease at which she put her sitters, a whirlwind of lines applied over colour fields to define his features, his gap-toothed smile revealing his age and good humour. As a son of Eardley’s dealer, Bill Macaulay of The Scottish Gallery in Edinburgh, Eardley will have known the boy well.Two Children (Lot 169) is a particularly resolved and successful work. Skilful layering and blending of multi-coloured pastels focus attention on the children’s faces, their overlapping pose suggesting the intimacy of siblings. Eardley’s gestural technique communicates the patterning of their clothing, which gives way to free form mark-making.Ginger (Lot 170) is a dignified yet tender portrait. Executed with oil on board, the boy looks directly at the artist (and by extension the viewer). As Christopher Andreae has written about such works:They were portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them actually meant she knew them well and painted them in their world…she [did not]…let sentimentalism sift sugar over her understanding of these kids. (Christopher Andreae, Joan Eardley, Farnham 2013, p. 127)

Grace Clark (British 20th Century)Portrait of the Nepalese Sherpa mountaineer Tenzing Norgay signed 'Grace Clark' (lower right); inscribed 'Mrs Grace Clark/131 Arthur Road/Wimbledon Park- London S.W.19./Tensing Norkey/schedule no. 2' (on label on backing paper)pastel39.4 x 31.4cm (15 1/2 x 12 3/8in).Footnotes:ExhibitedLondon, Royal Institute Galleries, Pastel Society's Annual Exhibition, 1954.Foyle Gallery Exhibition (according to the label on backing paper).Believed to be born in 1914/1915, Tenzing Norgay undertook his first expedition as a porter in 1933 when he was invited to be a member of the team of Sherpa porters for the British expedition to Everest. Over the course of the next few years, he took part on more Everest expeditions than any other. It is therefore no surprise that Tenzing was hired as lead Sherpa for the 1953 British expedition to Everest, and on 29th May, he, along with the New Zealand explorer Edmund Hillary, became the first person to set foot on the summit of Mount Everest.Grace Clark lived in India for many years with her husband Colonel T. W. Clark, a member of the Indian Education Service, before returning to England. She drew several portraits of Sherpas and other subjects from her time in India. A set of 12 pastel drawings by Clark from 1943, associated with the Indian Army are in the collection of The National Army Museum, London. When the present work was exhibited at the Pastel Society's Annual Exhibition in 1954, the Evening Standard and the The Yorkshire Post had commented on Clark's portrait of Tenzing (Tensing), saying that the work was attracting much attention. The Yorkshire Post had said it was 'a notable work, showing something of the mysticism as well as the fascinating smile of the man'.Saleroom notices:Please note the artist dates are 1896-1976.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

Walter Holmes(b.1936) The River Tyne and Tyne Bridge,pastel,587 x 42cms, framed.

Dawn Sidoli, NEAC, RWA (1933-2022) Pastel study on paper painting of a female nude in recumbent position. Monogram to centre, mounted but unframed and with NEAC exhibition label to the verso in part. Reverse of pastel with unfinished nude pastel. The study from the family of Dawn Sidoli. Measures 35cm x 19cm.

Aboudia (Ivorian 1983-), 'Untitled', 2011, unique oil pastel on paper, signed and dated in black ink, dated '16.12.2011' to the image; sheet: 32 x 24cm (Framed)sheet: 32 x 24cm (Framed)In good/artist's condition No visible knocks or tears to the sheet Some staining across the sheet and creasing to the corners/across the lower section of the sheet, this is potentially from the time of production This work has been framed in a wooden frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.

Maurice Utrillo (1883-1955), Paysage de Montmagny , c.1907, fusain, pastel et mine de plomb sur papier, signé, 22,5x33,8 cmCertificat de Gilbert Pétridès, Paris, 25 février 1988, no. 19.687 Certificat de Jean Fabris de l'Association Maurice Utrillo, Pierrefitte-sur-Seine, 16 juin 1988

Wifredo Lam (1902-1982), Sans titre , 1970, fusain et pastel sur papier, signé et daté, contresigné, daté et dessiné au dos, 68x50,5 cm M. Eskil Lam a examiné l''uvre et a confirmé son authenticité par e-mail en octobre 2016Wifredo Lam est né le 8 décembre 1902 à Sagua la Grande, à Cuba. La nature luxuriante de Sagua la Grande provoque dès son enfance un impact saisissant sur le jeune artiste que l'on ressentira dans ses futures représentations. Une nuit de 1907, il raconte avoir été saisi d'étonnement par l'ombre étrange des battements d'ailes d'une chauve-souris projetée sur les murs de sa chambre. A 21 ans, Lam entreprend un voyage en Espagne où il restera 14 ans. A Madrid, il entre en contact avec les idées et les mouvements de l'art moderne. Période marquée par la montée du fascisme, il s'engage activement contre Franco. La violence des combats ainsi que la perte brutale de sa femme et de son fils en 1931 de la tuberculose marquent profondément son 'uvre. En 1938, il quitte l'Espagne pour Paris et rencontre Picasso qui l'introduit auprès de l'avant-garde (Braque, Matisse, Miró, Léger, Eluard, Leiris, Tzara, Kahnweiler, Zervos..) À partir de 1947, le style de Lam évolue. L'influence de l'art océanien se combine à celle de l'art africain et la présence d'éléments ésotériques se fait plus dominante. Son travail gagne une ampleur internationale. Il se distingue de l'avant-garde par son style unique qui combine des éléments primitifs, de l'abstraction et de la figuration avec l'art africain et pré-colombien. Cette 'uvre de 1970 a été réalisée dans une période de maturité et d'accomplissement artistique. Les figures mythologiques et ésotériques de rituels vaudou se détachent par leurs contours noirs d'une ambiance chromatique lumineuse et floutée. La narration disparaît au profit de l'abstraction et du symbole. Ils interpellent le spectateur par leur présence fantomatique et onirique. Wifredo Lam produit une 'uvre aux empreintes surréalistes, énigmatique pour le spectateur, mais à la synthèse des différentes influences vécues de son parcours personnel. «Je suis l'enfant des rues de La Havane, élevé par la culture africaine, espagnole et chinoise. Mon art est le produit de la synthèse de toutes ces cultures, ainsi que de mes expériences de vie. Mon travail est une recherche continue de l'identité, de l'origine, de l'existence humaine et de la spiritualité.» W.L. En créant le «Cubisme magique», comme le définit André Breton, Wifredo Lam est un précurseur de l'art contemporain en Amérique latine. Aujourd'hui, ses 'uvres sont conservées dans de nombreuses collections de musées renommés à travers le monde, tels que le Musée national d'art moderne à Paris, le Museum of Modern Art à New York, et le Musée national des beaux-arts de La Havane.

JOSEPH SIMA (1891-1971)Sans titre 1960 signé et daté 60aquarelle, gouache, pastel et crayon sur papier signed and dated 60watercolour, gouache, pastel and pencil on paper37.1 x 28.2 cm.14 5/8 x 11 1/8 in.Footnotes:ProvenanceGalerie Paul Facchetti, ParisAcquis auprès de celle-ci par le propriétaire actuelThis 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

JOSEPH SIMA (1891-1971)Sans titre 1960 signé et daté 60pastel, aquarelle et gouache sur papier signed and dated 60pastel, watercolour and gouache on paper 32.6 x 49.8 cm.12 13/16 x 19 5/8 in.Footnotes:ProvenanceGalerie Paul Facchetti, ParisAcquis auprès de celle-ci par le propriétaire actuelThis 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

JEAN FAUTRIER (1898-1964)Sans titre vert circa 1957 signégouache et pastel sur papier signedgouache and pastel on paper 24.6 x 32.2 cm.9 11/16 x 12 11/16 in. Réalisé circa 1957.Footnotes:L'authenticité de cette œuvre nous a été confirmée par le Comité Jean Fautrier, Marie-José Lefort.Un certificat du Comité Jean Fautrier pourra être obtenu, à la charge de l'acquéreur.ProvenanceGalerie Jeanne Castel, Paris (acquis directement auprès de l'artiste)Collection particulière, Paris (acquis auprès de celle-ci)Puis par descendance au propriétaire actuelThis 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

Nine pairs of modern gemset drop earrings, all in silver and white metal marked 925, to include purple, pale blue, pastel shades, and multiple coloured stones, all with post and butterfly fittings.Qty: 9 pairs

Two large tubs of modern costume jewellery, new with tags, bead necklaces, wide silver tone bangles with shells, bead and ribbon necklaces, and pastel tone necklaces.

Nine pastel coloured gemset pendants on white chains and one necklet, to include pink, purple, yellow, blue and colourless gemstones in various designs, pendant sizes ranging from 18mm x 12mm to 30mm diameter, most in white metal marked 925, on white metal chains marked 925, all approx. 45cm length; and a purple and pink gemstone set necklet, on articulated white metal chain, marked 925, approx. 34cm.Qty: 10

Three multi-colour gemset necklace and earrings suites and a bracelet and earrings suite, to include pastel and stronger colours, all set in white metal marked 925, all with white metal chains marked 925, all earrings with post and butterfly fittings, one necklace with CoA, all boxed.Qty: 4

Michael Bennallack Hart (b.1948)California CrossingSigned with initials BH (lower left)Pastel43.4 x 48.5cmExhibited:San Francisco, Mongomery Gallery, California Landscapes, March-April 2001

Φ Adrian Hill (1895-1977)Autumn landscapeSigned Adrian Hill (lower left)Watercolour and pastel and heightened with bodycolour36.8 x 54.5cmExhibited:London, Art Exhibitions Bureau, Royal Society of British Artists

Φ James Arden Grant (1885-1973)Figures at the beachPastel34.3 x 53.5cmProvenance:Purchased by R. J. Smith from the artist's studio sale (according to label)

Michael Bennallack Hart (b.1948)Villa Aldobrandini Signed with initials BH (lower left)Pastel71 x 76.5cm

Φ Paul Maze (French 1887-1979)Sussex landscape with haystacksSigned Paul Maze (lower right)Pastel37 x 54.2cmProvenance:Abbott and Holder, London

Cecil Aldin (1870-1935)London BridgeSigned Cecil Aldin (lower left)Pastel31.3 x 44.7cm

Φ June Clayton (20th Century)Sweet SummerSigned June Clayton (lower left)Pastel26.3 x 36.9cmExhibited:London, Mall Galleries, Pastel Society, 1987

DORIS MCNEIL (CONTEMPORARY SCHOOL) THE HAPPY BUDDHA Pastel on paper, signed lower right, 35 x 27cm Title inscribed to label verso Together with 2 other (3) Condition Report:Available upon request

CROSSWAY MODELS; a 1:43 scale diecast Rover 75 Tickford Drophead LOK 918, in pastel blue, CM07 (020), boxed.

A pastel mink waist length jacket c 1960s and similar shrug C1950s with jaquard lining (2)

An interesting pastel mink shrug c 1950s in a taupe shade with mushroom satin lining and a demi buff mink jacket with shawl collar (2)

A 1980s two piece in a pastel rainbow crushed velvet with studs and lace inserts, an early 2000s Whistles skirt and two micro minis, one lingerie skirt by Manoush and one in a dusky lilac chamois, a long beaded and sequined tulle Patsy seddon skirt and a hot pink David Butler peplum blouse (6)

Fredrick Hines (1852-1952). Mother and child flower picking, pastel, signed, 27cm x 37cm.

Fredrick Hines (1852-1952). Study of mother and child beside riverbank with geese, a thatched cottage to background, pastel, signed, 27cm x 37cm.

▴ Norman Hoad SEA (1923-2014)'Hard At It!'signed 'NORMAN HOAD' l.r., and inscribed with title on label verso, sanguine pastel31 x 45.5cmCondition Reportoverall: 52 x 64.5cmSome very light rippling but in otherwise apparently good order. Unexamined out of glazed frame.

▴ Peter Biegel (1913-1987)'Nina'signed and dated 'Peter Biegel/Feb 74' l.l., pastel31.5 x 43cmCondition Reportoverall: 50.5 x 61.5cmin generally good order, unexamined out of frame.

J Ferneley (20th century) after Robert Bevan'Showing at Tattersalls'signed 'J Ferneley' and dated 1911(?) l.r., pastel on paper40 x 54cmCondition Reportoverall: 60.5 x 75cmThe paper crumpled and creased, please see images.

AUDREY HORSFORD Mountain landscape, pastel, 61 x 52 cms, with four other landscapes, mostly watercolour

E W HAZLEHURST (1866-1949) View of Durham Castle from the river, watercolour, early 20th century, 47 x 59 cms, with another more modern watercolour of Low Lights, North Shields by Tom Manson and pastel of a tidal estuary

KEN SYMONDS. 'Rough Sea, Porthgwarra'. Pastel, signed. Signed & titled to the reverse. 32 x 48cm.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect. WE CANNOT SHIP THIS LOT or other large, glazed or fragile pictures. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk

Merrythought Cheeky Witney Rose (T12RPROM), made exclusively for Teddy Bears of Witney, pastel pink mohair teddy bear, LE 191/250, very slight discolouration to muzzle, swing label certificate, Excellent Plus to Near Mint, 13"/33cm. 

Sarah Hollebone, pastel drawing ' Marianna ', 39cms x 25cms, gallery label verso, together with an ink and watercolour drawing, study of two horses, ' Corporal ' and ' Cadet ', signed M.C. Hollebone and dated '97, 22cms x 27cms, framed

Pair of 19th Century pastel portraits on paper, applied to canvas, head and shoulder portraits of a lady and gentleman, 62cms x 52cms, gilt framed (for restoration)

Michael Cadman, pastel, view of Coverack, Cornwall, signed and dated 1982, framedOverall size - 51cm x 64cm

William Dring, signed pastel drawing, portrait of a boy, together with a quantity of other portrait drawings, all unframed

Unframed pastel drawing, table and chairs by the coast, and a gouache painting, landscape, both signed Bicat, largest 39cms x 31cms

Edmund Blampied (1886-1966): pastel on paper, ship in harbour, dated 1920, 16 x 25 cm. Not available for in-house P&P

Pencil and pastel portrait of a seated dog, signed Karella, dated '81, framed, 43cms x 40cms

Henry Cliffe, British 1919-1993 - Abstract composition in orange, yellow, red and green, 1972; oil pastel and pencil on paper, signed and dated lower left 'Henry Cliffe 72', 32 x 25.4 cm: together with an abstract composition in turquoise blue and black, ink on paper, 24.8 x 18.3 cm and 8 other works on paper by the same artist of varying sizes and mediums (unframed) (10) (ARR)Provenance:private collection, purchased directly from the Estate of the Artist

Sandra Blow RA, British 1925-2006 - Untitled; ink, pastel and paper collage, signed lower right 'Blow', 10.5 x 16 cm (ARR) Provenance:with Belgrave Gallery, St Ives (according to the label on the reverse);private collectionNote:Blow is considered to be one of the pioneering abstract artists of the 1950s who introduced a new form of expressive painting to Britain, often using everyday discarded materials such as sawdust, sackcloth and plaster, as well as paint. Although considerably younger than many of her contemporaries of this early period, she was at the forefront of the abstract movement.Her later period shows her skilful techniques towards creating abstract form, light, space, texture and rhythm.Condition Report: Floated and held in a glazed, white washed frame, with minor scuff marks. Wear to corners of work. Collage material lifting very slightly at bottom corners. Painted surface in good condition and colours fresh throughout. 

Peter Coker RA, British 1926-2004 - Malham Night Moon; pastel and charcoal on paper, signed with initials and titled lower right 'PC Malham Night Moon', 37.5 x 54 cm (ARR) 

Godfrey Tonks, British b.1948 - Evening, La Huerta de La Font, 1997; pastel on paper, signed lower left 'Tonks', 28.8 x 38.7 cm (ARR) Provenance: with The Medici Galleries, London (according to the label affixed to the reverse); private collection 

Heinz Henghes, British 1906-1975 - Face, 1962; watercolour and pastel on paper, signed and dated lower right 'H Henghes 62', 33.8 x 49 cm (ARR)Provenance:the Estate of the Artist;with England & Co., London (according to the label attached to the reverse of the frame);private collectionNote: a retrospective exhibition for the artist was held at England & Co. in 2006. During his lifetime the artist exhibited with Hanover Gallery, Piccadilly Gallery and at the Camden Arts Centre. His work was included in the Festival of Britain.

Terry Willson,British b.1948 - Anonymous Portrait no.2; pencil and pastel on paper, signed lower right 'T Willson' and titled lower centre, 73.8 x 53.4 cm: together with another work by the same artist, 'Portrait of Edward Helliwell, 1975', 59.7 x 44.1 cm (2) (ARR) 

Lucien Fontanarosa, French 1912-1975 - L'enfant au chapeau de gendarme; pastel on paper, signed upper left 'Fontanarosa', 26.6 x 45.2 cm (ARR)Provenance:with Gimpel Fils, London; C.D. Gompertz, Esq., London, purchased from the above 6th August 1955 (according to the copy of the original invoice attached to the reverse of the frame); private collection, UK Note: works by the artist are in public collections in France and Bulgaria, and he also created major frescoes and murals in schools and other public spaces across France. Fontanarosa exhibited with Marlborough Gallery in London during 1956.