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Peter Harvey Graver (Cornish Contemporary) Pastel of Flowers in a Woodland, 34cm x 49cm together with Five Giclee Prints plus another Print by a different hand

A Tabriz rug in multi pastel colours - 100cm x 60cm

Albert Bray? - Landscape scene, pastel and watercolour wash, indistinctly signed and titled lower right, 46 x 61cm

Early 19th century English school - Profile portrait of a woman, pastel, signed with monogram and dated '08, 34 x 25.5cm

Isabel Wrightson (1890-1950) - Farmyard scene, pastel and watercolour wash, signed lower right, 36 x 53.5cm

Arthur Hopkins (1848-1930) - Hartland Quay, watercolour; mid-19th century English school - profile portrait of a gentleman, pastel (a/f); together with wildlife prints etc (5)

Contemporary school - The Bellows camera, pastel, signed with monogram LS lower right, 26 x 30cm; together with a theatrical watercolour heightened with white; and a pencil drawing of a monkey (3)

A Pastel study in gilt frame of church and churchyard, signed N. Loyot (?), and watercolour of old well by a cottage.

A framed and mounted pastel drawing 'A Team of Four Shires Pulling a Set of Rolls', signed lower right M. Rycroft, 22 1/4'' x 17 1/2''.

Three framed and mounted Roy Escott paintings including 'In The Dales Yorkshire' (pastel over watercolour),'On a Sunday Morning Walk' (watercolour) and 'Teasels, Malvern Common' (pen and watercolour wash).

A framed and mounted pastel 'Colours of Creation' by Roy Escott and an unsigned pastel of a floral branch.

A Mary Elizabeth Poulter signed pastel of terrier.

Eric Hoath (20th century) The Squadron at Cowes, pastel, signed lower left, 29 x 39cm, together with an early 19th century watercolour of Plymouth sound and five other works by different hands

A set of five Madame Alexander Dionne Quintuplet dolls, each dressed in pastel coloured costume. Approximately 19cm

English School, portrait of a lady, pastel, unsigned, framed

A late Regency silkwork embroidery, woven in pastel shades with a cushioned flowering urn on a yellow ground. 39 x 49cm, together with another similar work (2)

James Arthur Morris, various people in Oriental dress, pastel.

‡ CLIVE HICKS-JENKINS ink and oil pastel - entitled and signed verso 'Study for a Stained Glass Window', dated 1999Dimensions: 20 x 20cmsProvenance:private collection Vale of Glamorgan, consigned via our Cardiff officeCondition Report:framed and glazed, no problems

‡ JOSEF HERMAN OBE RA pastel and charcoal - woman at weaving loom, unsigned Dimensions: 16 x 17cmsProvenance:private collection Cardiff, consigned via our Cardiff officeCondition Report:framed and glazed

‡ KAREL LEK pastel - couple walking arm in arm, signedDimensions: 70 x 48cmsProvenance:private collection Denbighshire, consigned via our Colwyn Bay officeCondition Report:framed and glazed

‡ WALTER HOLMES pastel - the interior grounds of Cardiff Castle, signedDimensions: 35 x 52cmsProvenance:private collection Staffordshire, consigned via our Colwyn Bay office, original receipt from the artist attached versoCondition Report:framed and glazed

‡ KEITH BOWEN pastel - Amish child on a swing, with figure beyond, signedDimensions: 38 x 76cmsProvenance:private collection Gwynedd, consigned via our Colwyn Bay officeAuctioneer's Note:the artist spent some time with the Amish community in America, images can be found in his book 'Among the Amish', 1998Condition Report:framed and glazed, ready to hang

‡ ROGER CECIL mixed media, oil and pastel - semi abstract reclining figure, entitled verso 'Figure Series II', signed and dated '89Dimensions: 50 x 46cmsProvenance:private collection Vale of Glamorgan, consigned via our Cardiff officeCondition Report:framed and glazed

Terry Barron Kirkwood, Black Cat, pastel on textured paper, signed with initials bottom right, silvered glazed mounted frame, (29cm x 20cm)

Michelle Lecoque, (French, 1938 -)Port de Dieppe, pastel, signed bottom right, inscribed verso with details of the artist, (22cm x 29cm)

Bryon Fitzpatrick (1931-2015) - An Original Canson Rendering of a Classic Porsche 356 in Brown. Signed lower right and dated 1988, Pastel on board and Framed with non reflective glass - 72x54 cm. Bryon Fitzpatrick is an Australian Born artist and designer who Was known as The Drawing Machine for his astonishing drawing and rendering skills. He was Internationally renowned educator and designer with a career that includes significant experience in the UK, Europe, the United States, Asia and Australia. His professional automotive design experience included working for the Ford Motor Company in England and Germany, designing vehicles for the companys European product lines. He later moved to the international automotive design firm, Ogle Design in the UK, where he designed the famous Triumph Trident and BSA Rocket III motorcycles. Some of his other designing work involved designing products for clients such as Bang & Olufsen, as well as glassware, photographic equipment, and furniture. These projects earned him a number of awards including European Gold Medals for Design Excellence. Over his life he gained the recognition as the worlds leading automotive designer.

Bryon Fitzpatrick (1931-2015) - An Original Canson Rendering of a Classic Porsche 930 in a Silvery Blue colour. Signed lower right and dated 1988, Pastel on board and Framed with non reflective glass - 73x55 cm. Bryon Fitzpatrick is an Australian Born artist and designer who Was known as The Drawing Machine for his astonishing drawing and rendering skills. He was Internationally renowned educator and designer with a career that includes significant experience in the UK, Europe, the United States, Asia and Australia. His professional automotive design experience included working for the Ford Motor Company in England and Germany, designing vehicles for the companys European product lines. He later moved to the international automotive design firm, Ogle Design in the UK, where he designed the famous Triumph Trident and BSA Rocket III motorcycles. Some of his other designing work involved designing products for clients such as Bang & Olufsen, as well as glassware, photographic equipment, and furniture. These projects earned him a number of awards including European Gold Medals for Design Excellence. Over his life he gained the recognition as the worlds leading automotive designer.

GEORGE DEVLIN RSW RGI (SCOTTISH b.1937) ON THE ROAD TO TORROX Pastel, signed lower right, 22 x 27cm (9 x 10.5") Condition Report:looks in good condition, horizontal slightly raised ridge on the paper mid right, possibly with some localized rubbing, not examined out of frame.

CONSTANT JOSEPH BROCHART (FRENCH, 1816-1899) REVERIE Pastel, signed right, oval, 65 x 55cm (25.5 x 21.5") Condition Report:The picture presents in fair condition. The surface is uneven/undulating and may in places have rubbed against the glass. Not examined out of frame, so it is unclear whether the supporting sheet has been laid on a board or drawn straight on. The inside of the glass would benefit from a clean

LENA ALEXANDER (SCOTTISH 1899-1983) MIXED ROSES IN A VASE Pastel, signed lower left, 49 x 59cm (19.2 x 23.2") Title inscribed to label verso Condition Report:Available upon request

Gillian Swanson'Tulips: Black & WhiteOil , pastel & charcoal[80x60cm]

Royal Dux Ceramic Parrot, in pink and pastel tones, perched on naturalistic base, pink triangular applied plaque and stamped 402 868, 40.5cm high.

Royal Dux Ceramic Parrot, in pink and pastel tones, perched on naturalistic base, pink triangular applied plaque and stamped 402, 68 23, 40.5cm high, (cracked), a smaller example (2).

Artisans Centre Malta Mottled Glass Bowl, 11.5cm diameter, vases in pastel colours, etc:(11):- One Tray.

Isobel Blincow (Sheffield Artist), Whitby Beach from Sandsend, pastel drawing, signed lower left 35.5 x 53cm.

R C Naylor (Sheffield Artist) View Towards Regent Street, Sheffield, with property believed to depict the home of Samuel Plimsoll, pastel and watercolour, signed lower right, 35 x 46cm

Royal Dux Ceramic Parrot, in yellow and pastel tones, perched on naturalistic base, pink triangular applied plaque and stamped 402 5327, 40.5cm high.

E T MILLS(?), FRAMED PASTEL/CHARCOAL DRAWING(?), 'STEP BY STEP', APPROX 27 x 43cm

From The Estate Of Bob Baker - Artwork - 'Nude' - a pastel study of a reclining nude figure, on paper. Unsigned. Framed and glazed, total size; 26cm x 53cm. Robert ‘Bob’ Baker (1939 to 2021) was a British television and film writer. He was best known for working on the original series of Doctor Who – during which he co-created the now iconic character of K9, and for being a co-writer of the Wallace and Gromit films The Wrong Trousers, A Close Shave, Wallace & Gromit: The Curse of the Were-Rabbit and A Matter of Loaf and Death (in which the character Baker Bob is named after him). Baker’s work with Aardman Animations earned him a share of two Academy Awards, and two BAFTAs. Baker was born in St George, Bristol. Each lot from his estate is accompanied by a specially made certificate of authenticity confirming it to have come from his own personal collection.

Dennis Gilbert - Pastel - Female nude study, signed lower left, 22cm x 23.5cm, framed under glass

John Russell (1745-1806), a miniature pastel portrait of a lady wearing pale pink dress & blue ribbon in her hair, set within giltwood frame. Image size 94mm x 72mm. Ivory Exemption Submission Reference: FGCDS38U. Provenance: Sold by Puttick & Simpson Ltd. Auctioneers, London, Wednesday, October 7th 1953. Provenance: Sold by Puttick & Simpson Ltd. Auctioneers, London, Wednesday, October 7th 1953

A pastel mink ladies fur coat with matching hat plus another hat by Harrisons of Worcester and two fox fur collars (including original receipt for £1200)

Jossi Stern - pastel of David playing his harp, 46 x 36cm

French School, mid 19th century, portrait of a young lady, bust length wearing a blue shawl, pearl hair ornament and blue bow tie, pastel on canvas, 43 by 31cm, unframed

Stephen FELSTEAD (1957) Spring Tide, Newlyn Pastel on paper, signed, further signed, inscribed and dated 2023 to verso, 15 x 15cm.

Stephen FELSTEAD (1957) Blue Boats Newlyn Pastel on paper, signed, further signed, inscribed and dated 2023 to verso, 15 x 15cm.

Stephen FELSTEAD (1957) Fishing Boats St Ives Pastel on paper, signed, further signed, inscribed and dated 2023 to verso, 15 x 15cm.

Arthur BERRIDGE (1902-1957) Abstract Figure Collage (Circa 1950s) Pastel on collaged board, 35 x 46cm.This piece is in excellent condition.

Charles Joshua KELSEY (1870-1960) South of France Pastel on paper, signed, 29 x 35cm.

Stephen FELSTEAD (1957) Evening Tide Mousehole Pastel on paper, signed, further signed, inscribed and dated 2023 to verso, 15 x 15cm.

A large Arts & Crafts embroidered panel with pastel colours depicting stylised Dove above Birds of Paradise with rose hips and various flowers, beetles, dragon flies, bees all within ivy leaf and rose hip border, the panel 166 x 105cm, maple framed and backed (1) 

Willard Leroy Metcalf, 1858 Lowell/Massachusets – 1925 New YorkON THE BEACH IN LONG ISLAND, 1902Pastell auf Karton.50 x 70,5 cm.Links unten signiert und datiert „W. L. METCALF. 1902.“Im Passepartout, hinter Glas gerahmt.Blick auf einen Strand mit zahlreichen Besucherinnen und Kindern in sommerlicher Kleidung, dazwischenstehend zwei große Sonnenschirme, einer in Gelb, der andere in Rot. Auf dem dahinterliegenden blauen Meer zahlreiche Segelboote erkennbar, unter dem hohen bläulich-gelben Himmel mit weißen Wolkenformationen. Malerei in frischer Farbgebung. Anmerkung:Der amerikanische Künstler gehörte zu den ersten Stipendiaten der Schule des Museums of Fine Arts in Boston. 1883 reiste er nach Frankreich. In Paris besuchte er die Académie Julian, wo er Unterricht bei Gustave Boulanger (1824-1888) und Jules Joseph Lefebvre (1836-1911/12) nahm. Zusammen mit Theodore Robinson (1852-1896) gründete er in der Nähe zu Claude Monet (1840-1926) eine amerikanische Künstlerkolonie. 1891 siedelte er nach New York über. Das Jahr 1904 verbrachte er in Maine und wandte seine Malerei dem Impressionismus zu. Ab 1906 hatte er beim Publikum großen Erfolg, insbesondere mit seinen Landschaften und den bevorzugten Motiven der Berkshires, Cornish, Springfield und Casco Bay. (1351624) (18)Willard Leroy Metcalf,1858 Lowell/Massachusets – 1925 New YorkON THE BEACH IN LONG ISLAND, 1902Pastel on card. 50 x 70.5 cm.Signed and dated “W. L. METCALF. 1902.” lower left.

Franz von Stuck, 1863 Tettenweis – 1928 MünchenPORTRAIT EINER JUNGEN DAMEZeichnung, Pastell, Kreide auf bräunlichem Karton.62 x 51 cm.Rechts unten signiert „Franz von Stuck“.Hinter Glas in dekorativem Rahmen mit Teilvergoldung.Halbportrait der jungen Frau nach links in rötlichem Kleid und langer Perlenkette. Sie hat lockiges Haar, den Kopf leicht gewandt und mit ihren braunen Augen blickt sie aufmerksam aus dem Bild heraus. Untere Ecken minimal wasserfleckig, kleine Rahmenschäden. (1350261) (18)Franz von Stuck,1863 Tettenweis – 1928 MunichPORTRAIT OF A YOUNG LADYDrawing, pastel, chalk on brown card.62 x 51 cm.Signed “Franz von Stuck” lower right.

Arthur Gaskin (1862-1928) 'Farmyard in the Cotswolds', pastel, monogrammed and dated 1923 in pencil lower right, 21cm x 25cmProvenance:Hartnoll, 14 Mason's Yard, London SW1Y 6BU, purchased in 2001The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection.Minimal scuffs and display wear to the frame, otherwise seems ok.

Arthur Gaskin (1862-1928) 'Figures working in a field', pastel, unsigned, 21cm x 31cmProvenance:Hartnoll, 14 Mason's Yard, London, SW1Y 6BU, purchased in 2001The collection of Paul Whitfield (1942–2018)Paul Whitfield’s distinguished auctioneering career began in the furniture department at Christie’s in 1965 rising quickly through the ranks to become managing director at King Street by 1969. Later, he was instrumental in the setting up of Christie’s South Kensington. He was the son of the poet and writer Christopher Whitfield, an early friend of Michael Cardew in the 1920s, and a supporter of Frederick Landseer Griggs.After Christie’s, he worked in roles at Bonhams, Sotheby’s, and finally Phillips. Passionate about his craft, he had a deep knowledge of many areas, including bronzes, furniture, ceramics, and modern British painting. This passion was reflected in his own collection, avidly compiled over his lifetime and housed at his Cotswold home outside Chipping Campden.In retirement, he provided invaluable support to the north Cotswolds’ museums, as a trustee of the Guild of Handicraft Trust and the Court Barn Museum, as well as loaning works of art to the Winchcombe archive collection. Minimal scuffs and display wear to the frame, otherwise seems ok.

Dame Laura Knight, RA, RWS (British, 1877-1970)Knitting signed 'LJohnson' (lower left)pastel39.5 x 49.5cm (15 9/16 x 19 1/2in).Footnotes:ProvenancePrivate collection, Cumbria.Acquired from the above by the present owner.ExhibitedNottingham, Nottingham Castle Museum, 22nd Annual exhibition of pictures in oil and water colour by local artists, 12th May – 25th August, 1900, no. 251.Penzance, Penlee House, Laura Knight a Celebration 17th May – 16th September, 2021.This work is listed in the Laura Knight catalogue raisonné currently in preparation by Mr R. John Croft FCA, as cat. no. 0100.The present lot is an interesting early work, showing the influence of Edward Stott, an artist that Laura Knight admired. Painted in Staithes before Laura's marriage to Harold Knight, the present work is signed with the artist's maiden name, Johnson. For similar early work, see for example Fisherfolk baiting lines on the cobbles, Staithes (sold in these rooms, 2 March 2016, lot 94), and The Beach, Staithes (Christie's, London, 3 March 1999, lot 53).Knight described the time she and Harold spent in Staithes as having a 'tremendous influence on work, life and power of endurance. It was there I found myself and what I might do'.11Laura Knight, Oil Paint and Grease Paint, London, 1936, p.75.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

Sir Edward Coley Burne-Jones, Bt., ARA, RWS (British, 1833-1898)The Answering String A standing female holding a Cithern in the green court of a building by a barred window, figure taken from a study for The Last Sleep of Arthur in Avalonsigned with initials and dated 'E/B/J 18/96' (lower right), signed and inscribed with title (on artist's label attached to the reverse)bodycolour, gold paint and coloured chalk34.2 x 21.5cm (13 7/16 x 8 7/16in).Footnotes:ProvenanceThe artist.With Thomas Agnew & Sons, London.Christie's, London, The artist's studio sale, 16-18 July 1898, lot 22, described as a pastel.Lady Frances Jane Horner (née Frances Jane Graham), 1898-1940. Thence by descent.Private collection, UK.ExhibitedBrussels, International Exhibition, British Fine Art Section, 1897, ex-cat. (according to a label on the reverse, listed as property of the artist).London, Burlington Fine Arts Club, Drawings and Studies by Sir Edward Burne-Jones, 1899, no. 63, described as 'Design in gold and water colours of a female figure, with oriental drapery over her head, standing holding a Cithern [Cithara] in the Green Court of a Building by a Barred Window.' (lent by Mrs Horner).LiteratureWilliam Cosmo Monkhouse, Burlington Fine Arts Club Drawings and Studies by Sir Edward Burne-Jones, Bart, 1899, cat no. 63, p. 15.Fortunée de Lisle, Burne-Jones, 1904, p. 187 (owned by J. F. Horner).Malcolm Bell, Sir Edward Burne-Jones, An Illustrated Record and Review, 5th Edition, 1910, appendix II, p. 132, as 'Unfinished picture' in the Studio sale, Christie's 16-18 July 1898.The present lot is listed in the online catalogue for the Committee of the Burne-Jones Catalogue Raisonné Foundation which can be viewed at www.eb-j.org. Painted in 1896, the figure in the present lot is from a study for The Last Sleep of Arthur in Avalon. As the catalogue notes: 'This figure was first included as an attendant musician in the first composition of The Last Sleep of Arthur in Avalon, she stands to the left of the mausoleum, next to the head of King Arthur. Not using the figure in the later designs, Burne-Jones thought it too good to completely abandon and in 1896 he took it up and made it an independent work.'1A heavily draped female figure, her head covered, stands in an enclosed space beside a building of stone construction and with a single barred window. A woman stands in the foreground holding a dulcimer the strings of which she appears to pluck. The drawing's title – The Answering String – seems to imply that she has found a way to communicate with an unseen person who is held captive in a cell, by striking a note on her instrument and awaiting the reply. The motif of a figure playing a stringed instrument occurs quite frequently in Burne-Jones's output. At the centre of the mural decoration that he made for William and Jane Morris's home, Red House, in 1860 is a man playing some kind of primitive fiddle; while the artist's composition, The Mill (Victoria & Albert Museum, London), begun in 1870, has a figure standing beneath an archway playing a dulcimer at the right side. Perhaps the most immediately familiar image of someone attempting to play an instrument in the context of Victorian art was George Frederic Watts's Hope (various versions, including that in the Tate commenced 1886), where the instrument has only one string remaining and yet which the figure persists in attempting to play. In the last years of his life Burne-Jones completed a number of head studies and figurative compositions of this type using gold paint to make works of the utmost richness and ornamental quality, complete in themselves and intended for display as aesthetic objects. For example, in 1890, he showed a series of 'Designs in Gold' at the New Gallery. Of the particular skill required in the use of gold paint, Burne-Jones told his assistant Thomas Matthews Rooke: 'This gold work must be done very directly – it's an art of itself. I forget how to do it between one time and another, and it's always an experiment'.2The provenance of the present lot is fascinating; when loaned to the posthumous exhibition of Burne-Jones' work at the Burlington Fine Arts Club, the work is listed as 'lent by Mrs Horner'. Frances Jane Horner (née Graham) (1854-1940) was the daughter of the Liberal MP William Graham, who became one of Burne-Jones' most ardent patrons. Graham owned a number of Burne-Jones works, including some early panels from the Briar Rose series. Graham also held an excellent collection of early Italian works, which he would loan to the artist for inspiration. He helped managed Burne-Jones' financial affairs and even oversaw the sale of his paintings. Graham's daughter Frances became a great friend of Burne-Jones; as a child she would accompany her father to the artists' studio. As a young adult, Frances and her father would accompany the artist to exhibitions, theatre events and circuses. 'We went about with Burne-Jones everywhere' she noted. Burne-Jones was fascinated by her, drawing her many times, and bestowing many tokens of his affection upon her: painted caskets, illuminated manuscripts, hand-made Valentines. William and Frances both sat for formal portraits in the late 1870s, and Frances appears as one of the models in Burne-Jones's monumental work The Golden Stairs, which was shown at the Grosvenor Gallery in 1880.3Frances moved within the milieu of the 'Souls', an artistic and intellectual group centred around Mells, the Wiltshire home of the Horner family. The group, described by one member as 'men and women bent on pleasure, but pleasure of a superior kind... looking for their excitement in romance and sentiment'4 contained an extraordinary array of late Victorian politicians and intellectuals, including the Balfour, Wyndham, Grenfell and Asquith families. When, in 1883, Frances married the barrister and heir to the Mells estate John Francis Fortescue Horner (1842-1927)- Burne-Jones was said to be devastated- she became the hostess of this extraordinary circle of socialites. Frances adorned Mells with paintings and gifts from Burne-Jones - not least the 'Orpheus' piano, commissioned as a wedding gift by her father- and continued to support Burne-Jones following her father's death. Frances' daughter Katherine married into the Asquith family, Katherine becoming daughter-in-law of H. H. Asquith, who served as prime minister during the First World War. 1www.eb-j.org.2Mary Lago, Burne-Jones Talking, London, 1981, p. 143.3Charlotte Gere, writing in Edward Burne-Jones, ed. Alison Smith, London, 2018, pp.151-154.4Wilfrid Scawen Blunt, My Diaries; Being a Personal Narrative of Events 1888–1914, part One: 1888–1900, New York, 1923, p.53.We are grateful to the Committee of the Burne-Jones Catalogue Raisonné Foundation for their assistance in cataloguing this work.For further information on this lot please visit Bonhams.com

PEGGY SOMERVILLE, EAST ANGLIAN, 1918-75, Pastel, entitled "Suffolk River Landscape", unsigned, partial label verso, 28.5cms x 38cms framed. £80-£120.

ANTHONY ATKINSON, 1929-2014, VINES AND LAVENDER, PASTEL, signed to rear, 37cm x 55cm. £30-£50.

Tony Giles (British,1925-1994), street scene by night, pastel and charcoal, signed,16.5x12ins, framed and glazed.