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* Nathan Ford [b.1976]-Joachim: - signed and inscribed on the reverseoil sketch on canvas28 x 20cm.

After David Shepherd, Working sketch for a painting of a tiger, signed, limited edition colour print, 160/850, 40 x 66cm, mounted; and a folio of prints and other pictures (a collection)

Dame Laura Knight, charcoal sketch study of soldiers, signed, 14ins x 9.5ins, framed

19th Century pencil and watercolour sketch of Miss Caroline Campbell playing a harp, oval mounted, bearing label verso inscribed ' Sketch by John Downman ', 7.5ins x 6ins

Four early 20th Century autograph and sketch albums, containing paragraphs of verse, drawings, signatures etc. (4)

M A Flewitt, British 19th Century school, signed and dated pencil sketch, 1896

CECIL A HUNT Watercolour 'Sketch in Granada' signed lower left, titled on mount provenanced to Rev HE Mearley Cannon hall collection verso, 16 x 21 cm framed & glazed

3 loose artworks: A Spanish monochrome print of a polo player, 1974, 14/100 58 x 48cm, a hand-drawn cat cartoon by Simon Bond entitled 'Dinner in Sight!' 21 x 15cm and a mounted pencil sketch in the style of Graham Sutherland's 'Thistle' studies, initialled 'G.S' to reverse 15 x 12cm

An original sketch on metal backed board

DOVER: Lyon, Rev. John - The History of the Town and Port of Dover, and of Dover Castle; with a short account of the Cinque Ports, 2 vols in one, 4to, original half calf, with 18 copper engraved plates 8 of which are folding, front board detached, Dover 1813-1814; Darrell, William - The History of Dover Castle, qto, with engraved title, folding plan and 8 plates, covers detached and scuffed, Hooper and Wigstead, London 1797; Batcheller, W - The New Dover Guide, Including A Concise Sketch of the Ancient and Modern History of The Town and Castle, 5th edition, 12mo, original green cloth, with gilt lettering, spine and inner joints split, W. Batcheller, King's Arms Library, Dover 1842 and Batcheller, W - A New History of Dover, and of Dover Castle, During The Roman, Saxon, and Norman Governments, with a Short Account of The Cinque Ports, Compile from the Ancient Records, and Continued to the Present Time, 1st edition, 8vo, later green cloth, 4 wood engraved plans and 2 steel engraved maps, including the fine frontispiece view of Dover, drawn by the young Thomas Sidney Cooper (1803-1902) of Canterbury, William Batcheller, Dover 1828

Eleanor Bellingham Smith, watercolour, Couple by the sea, 22 x 28cm and a sketch of Glynde Place by another hand

European School, Initialed Figural Pencil Sketch. Initialed lower right. Provenance: Private Florida collection. Pencil/Paper. Sight size: 3.75 x 4.25 inches.

A Carolyn Dinan (illustrator, born 1942) black ink sketch of a reclining woman; 'Margaret' signed and dated 1963.

Collection of Arts & crafts supplies: to include Acrylic paints, notebooks, sketch books, etc, together with Dandy & Beano comic annuals. (2 Trays)

[Rock and pop autographs] Cheap Trick / Rick Nielsen, a pencil sketch self-portrait, dated 12-3-78, together with a Heaven Tonight promotional postcard inscribed "So sorry. I'm embarrassed and assure you it won't happen again, Mr Richards", a montage and a small paper and wool kite. Given to the vendor by Nielsen the morning after a raucous night at the hotel at which the former was a member of staff

Frederick William Elwell RA (British 1870-1958): The Artist's Evening of Appreciation, black and white gouache signed and dated '96, 18cm x 24cmNotes: this gouache representing the artists' Bohemian lifestyle is a rare early sketch by Elwell, who attended the Academé Julian in Paris between 1892 and 1896, with his first exhibit at the Paris Salon in 1894 and the following year at the Royal Academy in 1895Provenance: this was found by the vendor's husband when one of the artist's studios in Station Square Beverley was clearedDDS - Artist's resale rights may apply to this lot Condition Report Click here for further images, condition, auction times & delivery costs

A photograph of Laurence Irving, framed in front of a pen and watercolour sketch, 24.5cm x 34.5cm

A J Stark, landscape, watercolour, 12cm x 17cm, together with a Victorian charcoal sketch of figures in a landscape, 20cm x 33cm

A rare original ink and watercolour painting sketch of Shaun The Sheep by creator Richard ' Golly ' Goleszowski (now Richard Starzak). The painting in pen and watercolour depicts Shaun The Sheep (made famous in the Wallace & Gromit film ' A Close Shave ' by Nick Park ) running. The painting has been signed ' Golly ' and dated 2007. Unframed. Measures approx; 30cm x 21cm. On card. 

A rare original hand drawn and painted watercolour painting of Wallace & Gromit by creator Nick Park. The watercolour and ink sketch depicting Aardman Animations' iconic duo in full colour. Signed to the lower right corner by creator Nick Park. On paper. Measures approx; 20cm x 20cm. Obtained via a charity auction by the vendor. A rare and charming Bristol related watercolour. 

Rolf Harris - Australian Entertainer and Painter - original marker pen sketch / picture of Daffy Duck. Drawn in various colour maker pens / watercolour markers. Depicting Daffy as a cowboy. Signed to the corner ' Rolf '. On board. Measures approx; 37cm x 55cm.Provenance: from an episode of ' Rolf's Cartoon Hour ' at ITV Studios in Bristol. Obtained by the vendor after filming. 

An Elvis Presley Enterprises official Limited Edition (90/1000) ' Las Vegas 1970 ' memorabilia presentation. Featuring various items of reproduction memorabilia to include; a sketch of Elvis' famous jumpsuit, Band credits, receipt for Elvis' costume and other items. Framed and glazed to a total size of: 63cm x 89cm. Certificate to back. 

An incredibly rare and unique original sketch by Batman co-creator Bob Kane. The sketch, depicting Batman and Robin, has Robin saying ' Holy Higgins Ink Batman - Did You Know That Bob Kane Buys All His Art Supplies At Charrette's?' and Batman responding ' Naturally, Robin! They Are The Best Art Store In Town!'. Originally drawn by Kane for the art store as a gift. Kane has signed the sketch to the base in typical form, and dated 1977. A faint dedication remains to the right hand side ' To Daniel Spiro '. Professionally framed and glazed to a total size of: 41cm x 48cm.An incredibly rare and important Batman sketch.Robert Kane  October 24, 1915 – November 3, 1998) was an American comic book writer and artist who co-created, with Bill Finger, the DC Comics character Batman. He was inducted into the comic book industry's Jack Kirby Hall of Fame in 1994 and into the Will Eisner Comic Book Hall of Fame in 1996.

An Aardman Animations Shaun The Sheep 2009 annual - signed to the inside by Shaun The Sheep writer and director Richard ' Golly ' Goleszowski / Richard Starzak. Signed to the inner page, with a hand drawn sketch by Golly of Shaun The Sheep. Dated 2017. Obtained in person by the vendor. 

An original sketch by Aardman Animations film maker Nick Park . The sketch of his most famous duo - Wallace & Gromit. Drawn in pen, the sketch depicts Wallace with his arm around Gromit. Signed and titled to the bottom. Obtained in person by vendor. Mounted. Measures a total size of: 8x10". Rare. 

Damien Hirst - English Artist - incredibly rare hand drawn ' Shark ' sketch. Drawn in black marker on blue paper, the large sketch measures approx; 18.5cm x 30.5cm. Neatly drawn and signed underneath, in typical form. Obtained in person by the vendor. Rare. 

An incredibly rare and important part of British Comedy history: a full scroll of original end-credits from ' Monty Python's Flying Circus ' Series 3, Episode 4 "Blood, Devastation, Death, War and Horror". Originally broadcast on 9th November 1972. The episode famously featured the Eric Idle penned sketch ' The Man Who Speaks In Anagrams ', and the end credits rather uniquely followed the theme of this sketch in that they were all written in anagrams. These credits - silver-printed onto black card - are the original credits as seen in-camera at the end of the episode. They feature the original ' Flying Circus ' artwork as designed by Terry Gilliam, with a list of the main cast, producer, director and assorted crew members. The credits are separated into two piece - namely the ' Flying Circus ' section to the top, and then the entire scroll. One name, approx halfway down has worked loose, and another name towards the end has been later-added (likely due to a last minute change in technical staff working on the episode). The scroll measures approx 15 feet in length, with a large portion towards the end remaining blank. A charming and important surviving relic of Monty Python and British Comedy history. Obtained personally by the vendor, who writes: In the early 1970s, I worked for a leading advertising agency in London as a media assistant. One of my colleagues invited me to attend the BBC’s live filming of a Monty Python TV show. It was episode 30, recorded on 11th December 1971. The show included the sketch: ‘The Man Who Speaks in Anagrams’. At the end of the show, I was introduced to the cameraman, who was a friend of my colleague’s, and he gave the credit scroll to me as a souvenir of the show. It is unique in that it was produced in anagram form, to match the sketch! Final images show the credits as broadcast - copyright BBC. 

A small collection of British Comedy related signed photographs and autographs. All hand signed, to include; David Jason, John Thaw, Patricia Routledge, Harry Secombe, Barbara Windsor, Ronnie Barker, Benny Hill, and a multi-signed page by Rolf Harris (with Sketch), John Inman, Lesley Joseph and others. Interesting selection. 

A pair of Margaret Gere (1878 - 1965) A pair of pencil sketch portraits of Christopher Proudman & Katherine Proudman, Son of Edgar Proudman Esq being framed and glazed, signed by the artist and dated 1950 and 1951. Portraits measures 21 cm x 15.5 cm. Frames measure 28 cm x 24 cm.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

ADOLF LOOS 1870 - 1933: A GLASSWARE SET 1931 Blown crystal with diamond-cut base Architect Adolf Loos designed this service under no. 248 for J. & L. Lobmeyr. This glassware service demonstrates that his clear and uncompromising interpretation of form was ahead of his time, exactly according to his theory: “Today’s modern spirit requires that products primarily be practical. Beauty symbolizes the greatest level of perfection. And because impractical can never be perfect, it also can never be beautiful.”The design was originally developed from a careful sketch of five glasses that were later converted into a final series. Each piece features characteristic diamond cutting on the base, with each line hand-cut and carefully matte polished. With this 1931 design Adolf Loos defined the direction of modern glass design, classic Lobmeyr, acclaimed by experts around the world and found in the collections of MoMA New York, V&A London and MAK Vienna.6 glasses: 9.1 x 7 (diameter of base) cm;3 glasses: 11.5 x 6 (diameter of base) cm;3 glasses: 11.3 x 4.5 (diameter of base) cm;2 glasses: 5.7 x 3.7 (diameter of base) cm.

MAX ŠVABINSKÝ 1873 - 1962: SEATED YOUNG WOMAN After 1896 Oil on canvas and paperboard 22,6 x 22,6 cm Signed lower right: "M. Švabinský" Seated Young Woman is unquestionably a sketch for a portrait of Švabinský’s fiancé Ela Vejrychová, as explained in the expert assessment by Prof. PhDr. Petr Wittlich, CSc: “... which can be determined by the typical styling of the young woman’s hair (a straight part?) even though the oval of her face does not feature any drawn details, which is standard for Švabinský’s sketches because he mainly used them to work out the coloring of the painting. Another characteristic feature is the woman’s white clothingwhich is connected with the cult of English Pre-Raphaelites, a movement Švabinský embraced at the time. Spots of color indicate flowers enlivening the surface of the painting and indicating the painter’s legendary love of flowers, which later returned as floral patterns covering his models’ clothing or the wallpaper and various textiles in home interiors. This small sketch could be attached to a known series of Švabinský’s portraits of Ela Vejrychová, which are an excellent document of a mentally modern woman at the end of the 19th century. Although a final painting was not made based on [the sketch], its inner rounded format reveals a connection with his famous Round Portrait from 1897 (National Gallery in Prague), which earned Švabinský an Honorable Mention at the Exposition Universelle of 1900 in Paris.“

VÁCLAV ŠPÁLA 1885 - 1946: AT PORT 1915 Pencil and watercolor on paper 220 x 295 mm Signed lower right: "VŠ 15" This niche in the port, captured with fresh strokes and using minimal means of expression and colors, predominantly blues, reds and ochres, testifies to Václav Špála’s great sensitivity as a painter. In this sketch he portrays a sunny day on the Mediterranean coast, which he liked to visit during his many sojourns through Southern Europe. The lazily swaying boats and sea bear the lessons of Cubism and Fauvism, while the mountains in the distance refer to one of the greatest figures in modern painting, Paul Cézanne. Cézanne’s segmentation of matter, composition of the picture, and sense of color provided a lifetime of inspiration to Špála. More than other painters, he favored personal experience andnever completedhis studies at the Academy of Fine Arts. He was a member of many important art associations and groups, especially Osma and Tvrdošíjní (“Stubborn Ones”), with whom he exhibited.

India.- Sketch book, 23 pen and ink drawings mostly of India and Indians, 6 with full or partial watercolour wash, excluding blanks, some loose and working loose, slightly browned, original cloth, ring binder, 130 x 185mm., [c. 1900].

Spencer (Stanley).- Newton (Eric) The Penguin Modern Painters: Stanley Spencer, signed and dated by Spencer to front endpaper, loosely inserted small pencil sketch ?by Spencer, also correspondence with reminiscences of Spencer, other printed matter, ownership inscription of Esilda Castellanos to front endpaper, illustrations, most colour, original printed boards, oblong 8vo, 1947.

* DAPHNE CONSTANCE ALLEN (BRITISH 1899 - 1985), THE SCOTTISH KING AND THE THREE WITCHES FROM ''THE SCOTTISH PLAY'' watercolour on paper, signed 37cm x 27cm Mounted, framed and under glass Note: Born in London, Allen was undertook training from an early age from her parents - her father, Hugh Allen, himself, was a recognised artist. This childhood tutelage provided Allen with considerable opportunity to develop as an artist and her first exhibition occurred at the tender age of 13 and she remains one of the youngest artists to exhibit with the Society of Women Artists. As a child, suites of Allen's illustrations were published in two illustrated books, A Child's Visions and The Birth of the Opal. At the age of 17, a third book including her illustrations was published, The Cradle of Our Lord and in her adult life, a further very rare book including her illustrations was published, The Silver Birch Tree. Allen also contributed illustrations of fairies and religious subjects to a number of magazines, including The Illustrated London News, The Sketch and The Tatler. Daphne Allen's work rarely appears at auction but a set of four 6 x 6 inch watercolours (Spring, Summer, Autumn, Winter) sold at Sotheby's London on 12th June 2003 lot 210 for £10,000 (hammer).

GEORGE LESLIE HUNTER (SCOTTISH 1879 - 1931), A ROCKY OUTCROP pen and ink on paper 16cm x 11.5cm Mounted, framed and under glass Provenance: Dr TJ Honeyman, From the Artist's Sketch Books, Christie and Edminston's sale, 10 April, 1980. Exhibited: St Andrews, St Andrews Fine Art, '10th Annual Exhibition', June 1986.Label verso: St Andrews Fine Art, 84a Market Street, St Andrews.

1939 Carved Wooden Sea Trout weight 19lbs 8oz - mounted on board c/w typed out details telling the full story and all the incidents which arose at the time - briefly covered as follows "The world's record sea trout on a dry fly, hooked just below the swing- bridge, lower Laerdal River Norway. On 22nd August 1939 and landed far downstream 55 minutes later. Caught by Toby Bromley on a Hardy 9 foot split cane "Tourney" rod, 2x gut cast (breaking strain 2.7lbs), river current 3-4 knots". Following incidents occurred immediately afterwards even though the fish was exhaustively photographed by F.R Bromley the angler's father, the camera was unfortunately empty of film at the time. However by great fortune Toby and Olaf his ghillie took an outline drawing on a large sheet of brown paper and filled in every detail down to the last spot. Then unbeknown to everyone Toby's mother used the brown paper to wrap up a pair of shoes which she was going to post to auntie Gladys but mercifully this was discovered in time and the brown paper was retrieved. From this sketch the model was carved in wood. Comments referred by the family "….It was an excellent job in every way except that the side is rather too flat; the fish was fresh from the sea and in prime condition". As to the weight, a furious row broke out among the Ghillies; they were a somewhat jealous lot and one faction argued that the fish had not broken the previous record. They therefore all trooped down with the fish to the hotel where the true weight was established on a set of government-certified scales and Olaf was acknowledged to be top ghillie of the river. On that same day 22 August 1939 was the day that Hitler's armies invaded Poland" One couldn't make up this story - although quoted the fish is great specimen - possibley carved in Norway - comes c/w two flies - and measures overall 16.75" x 45"

‡Cecil Beaton CBE (1904-1980)10 Costume studies for the play Quadrille by Noel Coward and an ink sketch of 3 ladies11, 3 signed, titled and inscribed with the artist~s address verso, 8 Pelham Place, London SW7 (his home from 1940-1980) 7 titled (one with a design verso) three inscribed Quadrille versoAll pen and ink with one brush and ink, all unframed3 - 43 x 36cm; 8 - 50 x 37cm (11)

Edward Duncan Masted ships Pencil sketch initialled 11 x 19cm Together with two other sketches

JOHN SKELTON SKETCH OF NUDE 1988 IN PENCIL (63 X 50)CM

* KUSTODIEV, BORIS (1878–1927) Bakhchisarai, signed and dated 1917.Oil on canvas, 80.5 by 94 cm.Provenance: Collection of N.D. Andersen, Leningrad.Acquired by the grandfather of a previous owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: Mir Iskusstva, Petrograd, 1918.Boris Mikhailovich Kustodiev, State Russian Museum, Leningrad, 1959.Literature: Exhibition catalogue Mir Iskusstva, St Petersburg, 1918, p. 9, No. 174, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatelstvo, 1925, p. 84, listed under the works from 1917.Exhibition catalogue, Kustodiev, Leningrad, 1959, p. 37, listed under the works from 1917.M. Etkind, Boris Mikhailovich Kustodiev, Leningrad, Iskusstvo, 1960, p. 197, listed under the works from 1915, marked as completed in 1917.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 178, listed under the works from 1917.Related literature: For a study for the present work, see Gosudarstvennaia kartinnaia galereia Armenii. Zhivopis. Skulptura. Risunok. Teatr. Katalog, Yerevan, Aiastan, 1965, p. 502, listed as Prodavtsy fruktov. Bakhchisarai.Boris Kustodiev’s painting Bakhchisarai, offered here for auction, is a unique work in the artist’s legacy. Among his classic easel works, it stands out because of its unexpected Oriental subject, which is more reminiscent of a stage set than the canvasses typically associated with the artist; and also because of the precise geographical siting of the motif and the vibrant range of colours in the night landscape — a palette that is unusual even for Kustodiev.In 1915, the artist spent two months in the Crimea, but, through a combination of circumstances, Bakhchisarai is now the only reminder of this trip. Perhaps this is because the journey to the Crimea was something that the artist needed, rather than wanted, to do. Kustodiev’s spinal illness was growing progressively worse, and he urgently required a change of climate; he also wanted to try a medicinal mud treatment. In a letter to the art historian and collector Fyodor Notgaft dated 2 September 1915, he complained: “I came to Moscow, and soon I have to leave it again — the doctors insist, and I feel it myself, since my health is very, very poor.... I’m going to Simferopol on the 11th, and from there on to Yalta. I’ll be in a clinic there for 2 weeks, and then I’ll be living near Yalta for about a month and a half...” (B.M. Kustodiev. Pisma, statii, zametki, interviu, Leningrad, Khudozhnik RSFSR, 1967, p. 151).We know very little about the artist’s stay in the Crimea. More precisely, we know only the scant details that he revealed to his relatives and friends in letters. At the beginning of October, Kustodiev writes from Yalta to his daughter Irina: “Mum and I have a large, very bright room facing south — there are poplars, palm trees, roses and pines in front of the windows — there are mountains in the distance. The windows are wide open all day, it’s very warm. At 4 o’clock, they treat me with black, rather foul-smelling mud, then I take a bath, after that I lie down for a while on the bed till dinner, which is at 7 o’clock in the evening. It is really rather boring here, and we can’t wait to leave...”The same sort of despondency — albeit even more acute due to the change in weather — can also be seen in a letter that Kustodiev sent a few days later to the actor Vasily Luzhsky: “I’m listless and depressed. I don’t want to do anything. Despite even the muchhyped warmth and sunshine here, it’s very dreary and boring. Now we barely see either of them, it’s cold, the sun comes out for about two hours in the morning, and almost the whole sky is covered in rain clouds.” Because of his bad mood and poor state of health, Kustodiev does little work in Yalta. He is dispirited because the mud therapy, on which the doctors had pinned their hopes, has not brought about any positive changes, and a week before his departure, planned for 22 October, he, seemingly reluctantly, blurts out in a letter to Luzhsky: “I won’t write about myself — everything’s the same or even seems worse....”It is likely, therefore, that the only artistic impression associated with the artist’s stay in the Crimea was a trip to Bakhchisarai. It is from there that he brought one small watercolour study. Today, this sheet, which has preserved the original composition showing the small square near the old palace of the Crimean Khan, where the fruit vendors have taken up their positions, is housed in the National Gallery of Armenia in Yerevan. The drawing was made from real life in the morning, when there was still no bright sunlight, and the sellers were just laying out their wares in the square among the small buildings of the ancient capital of the Crimean Khanate, surrounded by mountains. This study was used for the big picture, dated 1917, which Kustodiev executed when back in his studio in Petrograd.During work on the canvas, Kustodiev altered the sketch quite substantially. The central emphasis in the figural and dynamic structure of the picture is now not so much on the landscape but rather on the conveying of light and colours of an evening street in the little Tatar town. The composition boasts an abundance of characters and eloquent details that reveal the subject because of their convincingly realistic and authentic rendering. However, the groundwork for the structural design of the composition was undoubtedly laid by the watercolour sketch. The mountains encircle the space in the distance, so that the main action, devoid of any centre, takes place in what looks like a narrow stage setting, bounded by a backdrop of characteristic Oriental structures.The repeated horizontal divisions — the outlines of the gently sloping mountains and oblong roofs — contrast with the vertical forms of the minaret and the rising smoke from a furnace and, combined with the bustling crowd in the foreground, constitute the basis of a rhythm, the vibrant waves of which run through the market square, the diagonally diverging streets and the picture as a whole. The artist eschews any literal handling of real life and daringly creates the provocatively gaudy colour combination of an orange sunset sky, dark-blue shadows and the thin sickle of a moon, the cold light of which is offset by the blindingly hot light of the windows.As Kustodiev creates a universal image of “the east”, he is looking for a generalisation that is convincing because of specifically recognisable details and literal quotations from what he has seen in reality. He chooses to combine the impressions of what he has seen at different times of the day and in different places; yet it is not a chaotic, random and arbitrary mishmash, but a strictly organised whole. Unusual though it may be, Bakhchisarai undoubtedly fits into Kustodiev’s artistic system of the 1910s, in which the theme of the colourful street fair and street trading is prominent. From Village Bazaar (1903) and The Fair (1906) onwards, the persistent theme in Kustodiev’s work comes to be that of crowded and plentiful shopping squares, market days and Volga vegetable displays, which symbolise the inherent, natural wealth of the land and the fruitfulness of farm labour.

Pastel Sketch of Two Ponies by Susan Mord 2000

Framed Pastel Sketch of a Young Lady

Don Breckon - Marlow Station, a view of a GWR 1421 train at the station, oil on canvas signed and dated '84 lower right corner, 12" x 16", in a gilt frame, along with a sketch on tracing paper, inscribed The Marlow Donkey with a Train for Bourne, 6 1/4" x 7" and additional papers relating to the pictures

IRVING ALVEY (20th century); oil on canvas, American Neo-Classical veranda with bushes and trees entitled 'Colonel Rion's House, Winsboro', 36 x 45.5cm, in stained mahogany frame, watercolour figural landscape featuring ladies with prams entitled 'Durham Down', signed S Ludlow lower-right and with 'F H Barton' picture framer's label verso, 27.5 x 38cm, framed and glazed and a pencil sketch of a gentleman in Tam O'Shanter, signed 'Ian 1925' lower-left with 'Barton & Long Ltd' frame maker's label verso, 34.5 x 24.5cm, framed and glazed (3).

Neville Weston (British 1936-2017), street scene, landscape and woodland study, two in oils, one pencil sketch. Framed and glazed. (3) (B.P. 24% incl. VAT)