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Lot 86
A collection of mixed artwork to include; a framed and glazed Frances Ainsworth "Cabbage Plant" artwork; a card framed watercolour of the "Back garden of 13 Tumeis Hill, Cheshunt", by Margaret Bryan (1903-85) c. 1933; a collection of drawings, some painted in watercolours of varying scenes signed Hesterhood, including "A Hampshire Farm" circa mid-20th century, and a Good Luck Calendar with pastel of "Fisherman's Hut, Lulworth Cove" and others. (Q)
Lot 41
Elegant beaded necklace featuring alternating polished blue agate and rose quartz gemstones. Each bead is smoothly rounded, showcasing the soft pastel hues of pink and blue, strung together on a secure thread. The natural translucency of the gemstones enhances their visual appeal, making this necklace a stylish and sophisticated accessory. A versatile piece perfect for both casual and formal occasions.Issued: Late 20th century-early 21st centuryDimensions: 18"LCondition: Age related wear.
Lot 100
18 kt., 3 cushion-shaped sapphires ap. 14.35 cts., with maker's mark and Swedish hallmark, ap. 7.3 dwts. Length 6 3/4 inches.With GIA report no. 5232504094 stating the center stone was tested, with no indications of heating. Sapphires: medium light to medium pastel cornflower blue, slightly to moderately included, lively.Link width 3/8 inch.Sapphires: medium light to medium pastel cornflower blue, slightly to moderately included, lively. Link width 3/8 inch.Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and our Organization shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report
Lot 1472
Three early 20th Century portraits comprising a small sketch of a young girl lost in a distant daydream, signed "A C Bown", a stoic bearded gentleman in period costume and one other sketch of a woman with neatly-styled hair, looking on in quiet contentment, variously in soft pastel / graphite, framed under glass, largest 43 cm x 34 cm overall
Lot 1476
Lorna Graves (1947 - 2006)"Waterfall at Nunnery Walks", a rugged study of a rushing waterfall in the Eden Valley, charcoal and soft pastel, in double card mount and gilt frame under glass, 49 cm x 38 cm overall[Graves was born in Kendal and spent her childhood moving across Cumbria, which later inspired her to create artwork around her connection to nature and the Cumbrian landscapes. After studying earth sciences at London University until 1972 she pursued art courses at Cambridge and Cumbria College of Art and Design, and later worked full-time as a painter and sculptor. Her works are held at Tullie House Museum, Abbott Hall Art Gallery, Penrith and Eden Museum, as well as several other public collections.]
Lot 41
Paul-Emile Pissarro (French, 1884-1972). Pastel on paper drawing titled "La Village Sous La Neige" depicting an idyllic landscape. Signed along the lower right.Sight; height: 8 3/4 in x width: 10 1/2 in. Framed; height: 24 3/4 in x width: 28 3/4 in x depth: 1 1/2 in.Condition: The colors are bold and bright. There are no major visible tears or creases. Undulation to the sheet throughout. Floated in frame. Framed under plexiglass, light wear to the frame. Not inspected out of frame.
Lot 13
Jaune Quick-to-See Smith (Salish & Kootenai Tribes of the Flathead Indian Nation, 1940-2025). Pastel drawing on paper titled "Kalispell 34M" depicting an abstract landscape in bold, sweeping colors, ca. 1970s. Pencil signed "Jaune Smith" along the lower left; titled along the verso.Lot Essay:Jaune Quick-to-See Smith was a renowned Native American artist and activist, best known for her bold, expressive works that combined abstract and figurative styles to address themes of Native identity, colonialism, and cultural preservation. Born in 1940 in St. Ignatius, Montana, Smith was a member of the Confederated Salish and Kootenai Tribes. She held a unique position in the art world as one of the leading Native American female artists, using her work to challenge stereotypes and explore the complex experiences of Native peoples.Smith’s art often incorporated mixed media, collage, and symbolism drawn from her indigenous heritage, blending traditional motifs with contemporary materials. She was recognized for her ability to fuse Native American culture with modern art movements, creating powerful visual statements that commented on the history of colonization and the ongoing struggles faced by Native communities.As a trailblazer for Native American women in the arts, Smith was instrumental in amplifying Native voices within the contemporary art scene. She worked to empower female Native artists, advocating for their inclusion and representation in both art institutions and broader cultural conversations. Smith’s contributions to the field extended beyond her artwork, as she also served as a mentor and educator, helping to inspire and nurture the next generation of Native American artists.Her work is featured in prominent museum collections, including the Smithsonian American Art Museum and the Whitney Museum of American Art, and she remains a significant influence in the movement to give Native women artists greater visibility and recognition.Sight; height: 30 in x width: 22 1/4 in. Framed; height: 32 1/4 in x width: 24 3/4 in x depth: 1 1/4 in.Condition: The colors are bold and bright. There are no tears, losses, or restorations. Two pinholes in the upper corners, likely original to the artistic practice. Floated in frame; hinged to a non-acidic backing board with two pieces of framer's tape. Framed under glass; light wear to the frame.
Lot 1A
Cameron Booth (American, 1892-1980). Crayon or oil pastel on paper drawing depicting large trees, one bathed in the bright orange of fall, 1968. Signed and dated October 15, 1968 along the lower right.Sight; height: 8 1/2 in x width: 11 3/4 in. Framed; height: 15 1/4 in x width: 18 in x depth: 3/4 in.Condition: The colors are bold and deep. The sheet is toned. There is some undulation to the sheet. No visible tears, losses, or restorations. Housed under a non-acidic mat. Framed under glass; there are several small pieces of broken glass in the frame; there is a small break to the glass in the upper left corner. Light wear to the frame. Not inspected out of frame.
Lot 130
Minouk Lim (South Korea, b. 1968). Pastel on paper drawing titled "Serendipity" depicting an amorphous yellow form, 2011.Provenance: Walker Art Center: Avant Garden Benefit Auction 2022, Lot 16; Private Minnesota Collection.Unframed; height: 47 in x width: 31 1/4 in. Framed; height: 54 in x width: 38 in x depth: 2 in.Condition: The colors are bold and bright. There are no visible tears, losses, or restorations when viewed under UV light. There is a faint handling mark or crease along the lower left corner of the sheet. Slight undulation to the sheet. Floated in frame. Framed under glass; light wear to the frame including a minute accretion along the upper left. Not inspected out of frame.
Lot 1004
Victor-Ferdinand Bourgeois, French 1870-1957 - Le Lac Léman et la vallée du Rhône, 1908; pastel on paper, signed lower left 40.3 x 48.5 cm (ARR) Provenance: a Private Collection of French Naturalist Painters Exhibitions; Galerie Georges Petit, Paris, 'Exposition de pastels par Victor Bourgeois', 16th–28th February 1909, no.80; The Fleming Collection, London, 'French Naturalist Painters 1890-1950', June-July 2012 Literature: P. Clerc, B. Dumas et E. van de Putte, 'The French Naturalist Painters', Milan, 2012, cat. no.3, illus. p.41
Lot 740
JAMES PATERSON PRSW RSA RWS (SCOTTISH 1854 - 1932), THE RIGHT HONOURABLE J PARKER SMITH PC, JP, DL, FRSE pastel, chalk and pencil on paper, signed and dated 1918, titled label versomounted, framed and under glass (original mount and frame)image size 46cm x 31cm, overall size 71cm x 53cm Handwritten artist's label verso.Note 1: After settling in Edinburgh, James Paterson drew several accomplished portrait sketches of high-profile contemporaries including a self-portrait drawing (1916) in pastel, chalk and pencil which is now in the collection of The National Galleries Of Scotland. The portrait offered here is an outstanding example of his characteristic style as a draughtsman. Paterson often used hatching in red and grey chalk to model the face and give it depth. James Paterson`s work was exhibited at The Kelvingrove Gallery as part of the major "Glasgow Boys" Exhibition (2010) and at The Hunterian Art Gallery (Glasgow) in "James Paterson : Works From The Artists Studio" (2010)-an exhibition dedicated entirely to his own work.The Sitter: James Parker Smith of Jordanhill, PC, JP, DL, FRSE (30 August 1854 – 30 April 1929) was a Scottish barrister and politician who served as Liberal Unionist MP for Partick. He was first elected at a by-election in 1890 but lost the seat in 1906. He was a Cambridge Apostle. He had previously contested Greenock and Paisley. He was born on 30 August 1854 the son of Archibald Smith of Jordanhill (son of James Smith of Jordanhill) and his wife, Susan Emma Parker. Although his father was Scottish he was born in London and spent much of his life in England. He was educated at Winchester College. He then studied law at Trinity College, Cambridge, graduating with a BA in Mathematics (as fourth Wrangler) in 1877 and an MA in 1880. He qualified as a barrister in 1888. From 1890 to 1906 his interests changed from law to politics. In January 1900, Smith was appointed assistant private secretary to Joseph Chamberlain, Secretary of State for the Colonies. He held this post until 1903. He was sworn of the Privy Council in 1904. In 1915 he returned to Winchester as a fellow and as warden of the college. He later became a director of the Union Bank of Scotland. In 1921 he was elected a fellow of the Royal Society of Edinburgh. His proposers were Frederick Orpen Bower, Ralph Allan Sampson, Sir Edmund Taylor Whittaker and Sir James A. Ewing. In 1882 he was married to Mary Louisa Hamilton. They were parents to Archibald Colin Hamilton Parker Smith, the 5th Laird of Jordanhill, and Wilmot Babington Parker Smith. His brothers included Arthur Hamilton Smith, Henry Babington Smith, Lt Commander Charles Stewart Smith and Rev Walter Edward Smith. He died at the Brooks's Club in London on 30 April 1929Note 2: In our auction of 11th August 2010, lot 13 "Portrait of a Lady" (dated 1916) a similar pastel, chalk and pencil portrait by James Paterson sold for £2600 (hammer).
Lot 216
A porcelain mug with a wide, flat circular base on which is placed the body, with a curved rim and a semi-circular appearance. It is decorated on the outside with ‘Doucai’ enamels outlined with cobalt-blue underglaze and coloured with pastel shades overglaze. It has two superimposed decorative borders, the upper one adorned with fierce archaic dragons arranged in mirror-like patterns, and the lower one with a network of lace, lotuses and spheres. At the base is a six-character seal ‘??????’ framed in a blue double circle.Height: 3 cm; Diameter: 7 cm
Lot 604
Vase of organic design with illustrations on the front and back depicting a young woman in traditional Asian dress and a landscape. The decorations include floral motifs and pastel colours, with blue and yellow predominating. On the lower front and reverse, we can also find several inscriptions ‘To my friend General Aranda’ and ‘Special’.Presents the signature "Peyró" on the base.Size: 39 x 18 x 31 cm
Lot 965
ARTHUR WARDLE (BRITISH, 1864-1949)English setters on moorland inscribed 'English Setters' (lower right) pastel on paper 26 x 19cm (unframed) Provenance Property of the artist, thence by family descentUpper and right edges of the sheet are unfinished, crease to lower, left corner, otherwise sound overall.
Lot 967
ARTHUR WARDLE (BRITISH, 1864-1949) (2)HRH The prince and princess of Dales, Babit and Saracervesca titled (lower right), numbered '1108' (lower left) pastel on paper 29 x 22cm together with, hound lying down, pastel on paper by the same hand (2, both unframed) Provenance Property of the artist, thence by family descentCondition ReportPrince and Princess of Dales: Lower edge of sheet is unfinished, some creases to upper and lower border, otherwise sound overall.Hound Lying Down: Creases to upper left and lower right corners, otherwise sound overall.
Lot 971
ARTHUR WARDLE (BRITISH, 1864-1949)Greyhound signed 'Arthur Wardle' (lower left) pastel on paper laid on card 35.5 x 24cm (unframed) Provenance Property of the artist, thence by family descentCondition ReportThe sheet has been adhered to the backing board and is sound; a few media spots to the background, upper left and right, otherwise sound.
Lot 968
ARTHUR WARDLE (BRITISH, 1864-1949)Studies of a scottie dog signed and dated 'Arthur Wardle 1934' (lower left) pastel on paper 37 x 56cm (unframed) Provenance Property of the artist, thence by family descent Condition ReportLight creases and abrasions to the borders, media spot, extreme lower right edge; otherwise good condition overall.
Lot 847
Britain in the Blitz " BLITZ IN DOCKLAND" by Section Leader Tutt A pastel painting by Section Leader D. Tutt "BLITZ IN DOCKLAND" signed and dated 1943 framed and glazed 50 x 63.5 cmThere is no provenance with this picture but it has been in the Exhibition here since the early 1980's. Section Leader D.Tutt is not known to us as an artist and looks to have been an amateur artist drawing from life during the war. The dimensions given are for the picture, the frame measures 68x81cm.
Lot 175
Simon-Bernard Lenoir (French, 1729-1798) Portrait of Voltaire (François-Marie Arouet, 1694-1778), circa 1764inscribed verso 'Le Noir:pinxit'oil on canvas44 x 35cmProvenance:Within the present vendor's family for at least 90 yearsThis engaging, re-discovered portrait represents an important addition to the contemporary iconography of the renowned French Enlightenment writer François-Marie Arouet, known by his nom de plume Voltaire. Simon-Bernard Lenoir exhibited a pastel portrait of Voltaire at the Salon de l'Académie de Saint Luc, Paris, in 1764, believed to have been commissioned by Voltaire's friend, the actor Lekain (now in the Princeton University Art Museum, No. 2019-5). Although compositionally close to the pastel, the present oil on canvas, slightly smaller in scale, differs notably in the colour and style of Voltaire's jacket as well as the inclusion of delicate details, such the sitter's wig powder falling upon his shoulder, which give this painting a more immediate and lifelike feel and suggest it was made from first hand observation.Although primarily known as a pastelist, Lenoir also executed portraits in oil and is known to have repeated compositions in both mediums. The soft palette, sensitive handling (indicative of an artist familiar with pastel), closeness in style to known paintings by Lenoir and the inscription to the reverse of the relined canvas - likely replicating the artist's signature to the original canvas - all support a conclusive attribution of the present work to Lenoir's brush.The year 1764, also the presumed date of this portrait, was a significant one for Voltaire as it saw the publication of the Dictionnaire Philosophique, one of his best known philosophical works.
Lot 177
Hugh Douglas Hamilton (Irish, 1739-1808) Portrait of a lady in a white dress inscribed 'Portrait in Pastel of / Madame Vigee Le Brun / by herself' on an old label verso pastel 24 x 19cm Although once thought to be a self-portrait by Élisabeth Vigée Le Brun, the present work can be conclusively attributed, based on style and composition, to Hugh Douglas Hamilton. The unusual muslin flowing from the sitter's dress give the work a historiated tone and suggest the pastel is not a conventional portrait but that the sitter depicted could be in the guise of a deity or dancer.We are grateful to Neil Jeffares for his assistance in cataloguing this lot on the basis of photographs. Pastel in excellent, clean condition with no deterioration to the pigment or damage to the paper apparent. Unexamined out of frame. 34 x 29cm framed
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