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JOHN BOWES. Signed oil on canvas, modernist still life study of flowers in a vase. 20" x 16"

JOHN RIDDLE. Signed oil on board, impressionist still life study of fruit, bottle and a jar. 12.1/4" x 15.1/4"

Two etchings on paper, one indistinctly signed in pencil, a scene in Rotenburg and a market scene with woman and chicken, together with P.M.B., signed with initials and dated 1989, watercolour on paper, still life study of plants against a brick wall. (3)

LAURA A.HAPPERFIELD. Signed watercolour on paper, still life study of flowers in a bowl 'Delphiniums', (see label verso). 13" x 17"

DOROTHY G.DYMOCK. Signed oil on board, impressionist still life study 'Bluebells', (see label verso). 15.1/2" x 12.1/2"

Unsigned, unframed oil on canvas, still life study of fruit on a mossy bank. 7" x 10"

BOWEN. Bears signature, oil on canvas, impressionist still life study of flowers in a vase. 23" x 19"

Vincent Clare (circa 1855-1930) ‘A still life with grapes plums and apples on mossy bank’ oil on canvas, signed, 24cm x 31cm . Also the companion ‘A blackbird’s nest and spring blossom’-a pair (2)

Bryan Senior, (b.1935), ‘Flowerpiece’, still life of red and white flowers in a vase, signed and dated Ô60, oil on canvas, 23.5 x 9.5inches *Crane Kalman gallery label verso.

A still life oil painting of grapes and peaches, signed A. M. A. with a further two engravings by G.H. Phillips, one entitled "The Robin" and one entitled "Angling" (3)

A * Maresd' Still life - a bracket clock, figurine, basket of roses, chamber candlestick and a mirror upon a table top, signed, oil on canvas, 22 1/2" x 28 1/2".

Di Every, Still life - a vase of yellow flowers, signed, oils on board, 8 1/2" x 11 1/2".

19th Century Italian School - Figures with donkey on a road way, overlooking a bay, watercolour, 9 1/2" x 18 1/2"; three further watercolours; and 19th Century English School, still life, bowl of flowers, oil on canvas, 15" x 19" (5).

JAMES CLADHAM (fl. 1862) BRITISH Still Life, blossom, birds nest and eggs. Signed. 9 x 13ins.

MARION BROOM (fl. 1920-1960) BRITISH Still Life, Primulas. Signed. 14 x 20ins.

18TH-19TH CENTURY DUTCH SCHOOL Still Life, fruit and nuts on a table. 24 x 30ins.

A VICTORIAN SCHOOL FLOCK OF SHEEP BY A RIVER, oil on canvas, indistinctly signed and dated 1886, 17" x 31" and three further pictures to include, a Still Life, a Victorian needlework subject and a study of four horses, on canvas (4).

Early C20th Dutch School - STILL LIFE OF FLOWERS IN A VASE - oil on canvas, 24 by 20ins., in gilt frame - indistinctly signed lower right.

Eastern European School, (20th century), A still life of flowers in a pewter vase, indistinctly signed, oil on canvas, 59cm x 74cm.

Jean Baptiste, (19th/20th century), A still life of summer flowers in a vase on a marble ledge, signed, oil on canvas, 55cm x 39cm.

Follower of Edward Ladell, A still life of fruit on a marble ledge, oil on canvas, 39cm x 28cm.

An emotive Second World War group of three awarded to Petty Officer P. H. Kissane, who was killed in action aboard H.M.S. Glowworm during her remarkably gallant clash with the heavy cruiser Hipper off Norway on 8 April 1940: her captain, Lieutenant-Commander Gerald Roope, R.N., was subsequently awarded a posthumous V.C., while Churchill famously announced in the House of Commons ‘Glowworm’s light has been quenched’ 1939-45 Star; Atlantic Star; War Medal 1939-45, unnamed as issued, together with a Royal Life Saving Society bronze medal (P. H. Kissane, Sept. 1932), and a quantity of original documentation, as listed below, extremely fine (Lot) £600-800 patrick Henry Kissane was born in Southampton in March 1908 and entered the Royal Navy as a Boy 2nd Class in September 1923. Advanced to Ordinary Seaman in the Tiger in March 1926, to Able Seaman on the Warspite in June 1927 and to Petty Officer at the gunnery establishment Excellent in August 1938, he was serving in the cruiser Belfast at the outbreak of hostilities. A brief period ashore at Drake IV followed in the new year, and thence his appointment to the destroyer Glowworm, in which ship he was killed in action on 8 April 1940. the Glowworm, in company with Greyhound, Hyperion and Hero, was screening the battlecruiser Renown as part of operation ‘Wilfred’, a minelaying operation off Norway. After becoming separated whilst searching for a man overboard, the Glowworm made contact with two German destroyers that were carrying troops for the invasion of Norway, and quickly went into action, gaining some notable hits. Shortly afterwards, however, the German heavy cruiser Hipper appeared on the scene and began to shell Roope’s command with accurate fire. John Winton’s definitive history, The Victoria Cross at Sea, takes up the story: ‘As usual, the German initial gunnery ranging was excellent and Hipper hit Glowworm with her first salvo. The weather made escape or evasive shadowing almost impossible, so Roope sent off an enemy sighting report (his second, both of which were received by the C.-in-C.) and closed the enemy. The destroyer Glowworm, 1,345 tons and armed with four 4.7-inch guns, therefore advanced upon the 10,000-ton Admiral Hipper, armed with eight 8-inch and twelve 4.1-inch guns. Glowworm was hit again, in the Captain’s day cabin, where the doctor and his action sick-bay party were all killed or wounded. Another shell brought down part of the foremast and the wireless aerials, which fouled the siren on the funnel, and Glowworm went into action with the strange mournful banshee wailing of her steam siren. She fired a spread of five torpedoes, all of which ran wide, and was hit again, forward and in the engine-room, where a large fire broke out. Glowworm made smoke and prepared for another torpedo attack. At some time now, Roope decided to ram his enemy. Glowworm emerged from the smokescreen, crossing Hipper’s bows from port to starboard, and fired another spread of five torpedoes, four of which got away and one of which just missed Hipper by yards. Glowworm was still making about twenty knots when Roope ordered a sharp turn to starboard and headed for Hipper’s starboard side. Helmuth Heye, Hipper’s captain, alarmed by the possibility of another torpedo attack, also tried to turn to starboard and ram Glowworm, but Hipper was much slower under helm and Glowworm struck her amidships, tearing away about 100 feet of her armoured plating, damaging the starboard side torpedo tubes, killing one man at his gun and puncturing two fresh-water tanks. glowworm drew clear after her collision and although her decks were swept by a storm of fire from Hipper’s 4.1-inch and 37mm. close-range weapons, got off another salvo and hit Hipper from a range of about 400 yards. She was by then losing way, settling by the bows, with a major fire raging amidships and all steam pressure lost. Roope ordered his ship’s company to abandon ship. He stayed on the bridge, smoking a cigarette. heye chivalrously stayed for over an hour to pick up Glowworm’s survivors. Roope was seen in the water, helping men to put on their lifejackets and he actually reached Hipper’s ship’s side, where a rope was thrown to him. He caught it, but was not able to hang on. He sank back exhausted and was drowned. One officer and 30 men of Glowworm’s total ship’s company of 149 were picked up. Two men died in captivity.’ Aged 32 years, Kissane left a widow, Nora, a resident of Eastleigh, Hampshire. He is commemorated on the Portsmouth Naval Memorial. sold with a quantity of original documents, including the recipient’s Certificate of Service; R.N. Certificate for the Educational Test, Part I, to ‘Patrick H. Kissane, Boy 1st Class, O.N. J.108276’, dated 2 March 1926; Queries in Seamanship, Gunnery and Torpedo booklet, with pencil written notes; Wightman’s Arithmetical Tables booklet, inscribed, ‘P. H. Kissane’; the recipient’s H.M.S. Tiger and H.M.S. Warspite Qualification Cards; his H.M.S. Greyhound Identification Card; postcards and photographs of ships including H.M.S. Glowworm; a photograph of the recipient; newspaper cuttings mostly regarding the loss of the Glowworm; cloth badge; a metal name-plate inscribed ‘P. Kissane’ and a quantity of copied research. £600-£800

The historically important insignia of the Order of Saint Patrick successively worn by Richard, 1st Marquess Wellesley (1760-1842), Governor-General of India, by the 6th Earl of Mayo (1822-72), Viceroy of India from 1869 until his assassination in February 1872, and finally by the 1st Marquess of Dufferin and Ava (1826-1902), third Governor-General of Canada and eighth Viceroy of India the Most Illustrious Order of St. Patrick, an important set of insignia, circa 1800-10 comprising an impressively large oval double-sided sash badge in gold and enamels, 80mm x 65mm excluding suspension, some bruising to the edge of the badge and one outer and several inner retaining pins lacking, minor enamel chip to stalk of one central shamrock and likewise to one border shamrock on each side, otherwise very fine and superb condition for age, and breast star in silver with hinged arms and gold and enamel centre, the silver backplate engraved with three successive inscriptions ‘Marquefs Wellesley / ®TAT. 83’, ‘Richard Southwell 6th Earl of Mayo / ®TAT. 50’, and ‘The Marquis of Dufferin & Ava / ®TAT. 76’, fitted with gold pin for wearing, extremely fine, the green enamel shamrock expertly restored, the two pieces contained in a mid to late 19th century fitted case, the lid with later gilt embossed inscription, ‘Order of St Patrick worn by Richard, Marquess Wellesley (1760-1842), Governor-General of India and afterwards The Earl of Mayo (1822-1872) Viceroy of India’, complete with full dress sash, a most important and historic set of insignia £20000-30000 provenance: Sotheby March 1995, by direct descent. ‘Wellesley was Governor-General of Bengal in 1799 at the time of the subjugation of the rebel state of Mysore under Tippoo Sultan, and the army in gratitude for his leadership, ‘caused a star and badge of the Order of St Patrick to be prepared, in which as many of the jewels as could be found suitable were taken from the Treasury of Tippoo’. He initially refused it, but subsequently accepted it from the hands of the East India Company, and was delighted to have it. ‘It is magnificently beautiful and of enormous value. I should think about 8 or 10,000 pounds sterling; it is the most superb decoration I have ever seen.’ After his resignation from the Order in 1810 to accept the Order of the Garter, he would not have been able to wear the star and badge of the Order of St Patrick again. What happened to the jewelled Patrick star and badge is unknown, but the marquess was in some financial difficulties in the last years of his life, and it may have been sold to pay his creditors, and even broken up, though his silver star and enamelled badge did survive. There appeared in The Times on 31 March 1885, the following article: ‘There have been three Irishmen - namely, Lord Wellesley, Lord Mayo, and Lord Dufferin, who have been Governors-General of India and also Knights of St Patrick. When Lord Mayo went to India the star of the Order worn by Lord Wellesley was lent to him by Mr Alfred Montgomery, and he used it during the period of his viceroyalty. After his death Mr Montgomery presented the star to Lady Mayo and when Lord Dufferin went to India, she lent it to him and he now wears it.’ The badge and star still exist, and were auctioned at Sotheby's in London in 1995.’ (Ref: The Most Illustrious Order - The Order of Saint Patrick and its Knights, Peter Galloway, London, 1999). alfred Montgomery, referred to above, was the son of Sir Henry Conyngham Montgomery, a senior civil servant on the Madras establishment. Born in 1814 and educated at Charterhouse, at the age of sixteen Alfred became private secretary to the Marquess of Wellesley, the elder brother of the Duke of Wellington. Wellesley was deeply attached to Alfred's mother, and it was widely rumoured that his choice of private secretary had been influenced by his suspicion that he was in fact the boy's father. Alfred was generally believed to bear a striking similarity in appearance to Wellesley and was perhaps best known during his lifetime as a magnificent wit and entertainer, the ‘last of the Dandies’. he was granted a civil list pension of £300 in 1834, raised to £720 in 1882. He died in 1896 and Wellesley’s St Patrick insignia appears to have been bequeathed to Montgomery who took it upon himself to further the association of the Order with the high office of Governor-General, or Viceroy, of India, by lending it to his brother-in-law, Lord Mayo, upon his appointment as Viceroy in 1869. Married just three weeks after Wellesley’s death, to Fanny Wyndham, daughter of George Wyndham, Baron Leconfield, and granddaughter of George O’Brien Wyndham, 3rd Earl of Egremont; their daughter Sibyl subsequently married the 8th Marquess of Queensberry, whilst Fanny’s younger sister, Blanche, a few years afterwards married Richard Southwell Bourke, later 6th Earl of Mayo (qv). richard Colley Wellesley, 1st Marquess Wellesley, also called (from 1781) 2nd Earl of Mornington, Viscount Wellesley of Dangan Castle, or (from 1797) Baron Wellesley of Wellesley, was born in June 1760 at Dangan, County Meath, Ireland. A successful statesman who, as governor of Madras and governor-general of Bengal (both 1797-1805), greatly enlarged the British Empire in India and who, as Lord Lieutenant of Ireland attempted to reconcile Protestants and Catholics in a bitterly divided country. He was a founder Knight of the Order of St Patrick in 1783 but resigned in 1810 on appointment as a Knight of the Garter. He did, however, have further important associations with the Order of St Patrick, serving two terms as Grand Master in 1821-28 and 1833-35. a moderately liberal disciple of Prime Minister William Pitt the Younger, Wellesley sat successively in the Irish House of Commons, the Irish House of Lords (after inheriting his father’s Irish titles in 1781), and the British House of Commons until 1797. From 1793 he was a member of the British Privy Council and a commissioner of the India Board of Control. as governor-general in India, he used military force and diplomacy to strengthen and expand British authority. He annexed much territory from some states and contracted with other states a series of "subsidiary alliances" by which all parties recognized British preponderance. He received a barony in the British peerage in 1797 and a marquessate in the Irish peerage in 1799. on receiving a British government order to restore to France its former possessions in India, he refused to comply; his policy was vindicated when the Treaty of Amiens of 1802 was violated and Great Britain resumed war against Napoleonic France. Wellesley's annexations and the vast military expenditure that he had authorized alarmed the court of directors of the East India Company. In 1805 he was recalled and, soon afterward, was threatened with impeachment, although two years later he refused an offer of the Foreign secretaryship. In 1809 he went to Spain to make diplomatic arrangements for the Peninsular War against France and later that year became foreign secretary in Spencer Perceval's ministry. In that office he antagonized his colleagues, who considered him an indolent megalomaniac and welcomed his resignation in February 1812. as Lord Lieutenant of Ireland Wellesley disappointed the anti-Catholic George IV, and he was about to be removed when Wellington was appointed Prime Minister in January 1828. Wellesley then resigned because his brother was opposed to Roman Catholic emancipation, although the duke was constrained to accept that policy as a political necessity in the following year. Wellesley’s second term as Lord Lieutenant of Ireland (1833-34) ended with the fall of the 2nd Earl Grey's reform government. When the Whig Party returned to power in April 1835, he was not sent back to Ireland, and in his rage he threatened to shoot the Prime Minister, the 2nd Viscount Melbourne. Despite his own great achievem

Family group: three: Private J. Stallard, 2nd Battalion Oxfordshire and Buckinghamshire Light Infantry, killed in action at Nonne Bosschen Wood (Nun’s Wood), Ypres, on 11 November 1914 1914 Star, with copy clasp (7425 Pte., 2/Oxf. & Bucks. L.I.); British War and Victory Medals (7425 Pte., Oxf. & Bucks. L.I.); Memorial Plaque (James Stallard), in card envelope three: Private J. W. Stallard, 2nd Battalion Oxfordshire and Buckinghamshire Light Infantry, killed in action at Nonne Bosschen Wood (Nun’s Wood), Ypres, on 11 November 1914 1914 Star, with clasp (8303 Pte., 2/Oxf. & Bucks. L.I.); British War and Victory Medals (8303 Pte., Oxf. & Bucks. L.I.) victory Medal 1914-19 (A-3584 Pte. G. S. Stallard, K.R. Rif. C.) extremely fine (8) £750-850 James Stallard was born in Hockley, Warwickshire, and living at Stantonbury, Buckinghamshire, enlisted at Oxford. Serving with the 2nd Battalion Oxfordshire and Buckinghamshire Light Infantry he entered the France/Flanders theatre of war on 14 August 1914. He was killed in action at Nonne Bosschen Wood, near Ypres, on 11 November 1914, aged 28 years. Having no known grave, his name is commemorated on the Ypres (Menin Gate) Memorial and on the Stantonbury Memorial. Before the war he had been a well known boxer; known amongst his comrades in India as ‘The Mad Mullah’. john William Stallard was born in Birmingham, and living at Stantonbury, Buckinghamshire, enlisted at Oxford. Serving with the 2nd Battalion Oxfordshire and Buckinghamshire Light Infantry he entered the France/Flanders theatre of war on 14 August 1914. He was killed in action at Nonne Bosschen Wood, near Ypres, on 11 November 1914, aged 26 years. Having no known grave, his name is commemorated on the Ypres (Menin Gate) Memorial and on the Stantonbury Memorial. He was the husband of Mrs Stallard, of 48 Grafton Street, Northampton. Before the war he had worked at Messrs. Smith, Major & Stevens, of St. James’s, Northampton. george Sydney Stallard, entered the France/Flanders theatre of war as a Private in the King’s Royal Rifle Corps on 19 May 1915. Later in the year he was wounded, suffering deafness and injuries to his back and hips. Invalided to Lord Derby’s Hospital in Warrington, he was subsequently discharged because of his injuries. Entitled to the 1914-15 Star. james, John William and George Sydney Stallard were the sons of James and Florence Stallard of 67 St. Mary Street, New Bradwell, Buckinghamshire. sold with framed commemorative scrolls for James and John William Stallard; copy m.i.c’s. for the three brothers; and a quantity of copied research, including extracts from The Wolverton Express. An extract from The Wolverton Express dated 16 October 1914, reprinted extracts from a letter from John William to his parents, dated 24 September. ‘I beg the finish of this war, and it is war - hell cannot be worse. It is just like waiting for death, but still, we are lucky enough to escape so far, and can safely say it is a game of luck, and trust luck will be with us to the end. .... We are not against a lot of farmers but against a nation of fighting material. One of the most touching events I have seen in this war was in Belgium, in our advance and retirement on and from Mons. .... At one large house, as we advanced on Mons, the family were just leaving, and with eyes much swollen by crying, one young girl, about 22 or 23, unable to hold herself in check, ran forward at the sight of our troops and before we were aware of her intentions, had kissed several of us on both cheeks. That sort of thing tends to touch even the hardest of hearts. The people of Belgium behaved to us splendidly. Never to my dying day shall I forget their kindness. .... the Germans ... They looted everything and everywhere; hardly a house escaped their evil work .... but as we got further, instead of household things lying about, it was the Germans themselves lying in all directions. At first it appears rather a ghastly sight - but one has to get used to more than this - things I am not allowed to speak of. .... Still, it is surprising how the boys keep up their spirits. It is beautiful to see and hear them; there is plenty of life in them. We are all the same; set faces one minute, joking and laughing the next. ... Jack and I are still side by side. We are both all gay. The Winter will be awful, I bet, it is terrible at nights now ....’ £750-£850

A pair of Edwardian lacquered still life relief panels of fish, the polychrome decorated pressed card panels depicting three hanging game fish and three hanging coarse fish each displayed before a garland of ferns and grasses, in gilt frames, 39 cm x 29 cm (2)

E. M. Ball (late 19th or early 20th century) A still life of flowers in a vase on a stone ledge, oil on board, signed lower centre, circular, 28 cm (11 in) diameter

Ellen de Streuve (Esther Ellerman - 20th Century British) - “Cyclamen Reflections” - Still life with pot of red cyclamens reflected in a mirror, canvas 30ins x 24ins, signed with initials and dated 1941 (?), in gilt moulded frame Note : Bears label to rear of frame with address of 2 Oakwood Court, W14

Peter Cushing (1913-1994) - Watercolour - Still life - Vase of flowers, 10.75ins x 7.75ins, unsigned, in gilt moulded frame and glazed Note : Painted by Peter Cushing shortly before his death

Kenneth Newton (1933-1984) - Two - Pencil and charcoal sketch - Still life with kettle and oil lamp (unfinished), 8ins x 11ins, and three sketches with study of “Eleanor” to reverse, unsigned, and a charcoal half length sketch of “Eleanor”, 12ins x 7.25ins, unsigned (both mounted but unframed)

An early Victorian rosewood circular tripod stand or centre table, the top now inset with verre eglomise bordered panel, the centre decorated with a still life of fruit within moulded border and plain apron, on turned and carved centre column and cabriole supports with floral carving to the knees and scroll toes, 27ins diameter x 29ins high (centre block support replaced and now loose - centre panel probably of a later date)

E TOWNSEND Still Life with violin, bow, music books and music stand, watercolour heightened in white, signed and dated 1905 in pencil, in original oak frame, 45.5cms x 59cms

f SINCLAIR still life of flowers signed oil on board 9 1/2 x 8 inches and two other watercolours 20 - 30

A A ALDRED. Oil on canvas, still life study, a Chinoiserie jug, books and a horn on brocade fabric, signed, 29cm x 67cm, framed.

A Modern Oil on Canvas still life vase of flowers, indistinctly signed and dated 92, in gilt frame, 69cm x 60cm

A Pair of Modern Miniature Scalloped Oil on Cards, still life of flowers in gilt frames, 10.5cm x 8cm, also a small marine watercolour in mahogany frame, 8cm x 13cm (3)

A Continental White Metal and Blue Enamel Strut Clock, retailed by Mappin & Webb, with enamel dial with Roman numerals above a panel, hand painted with a courting couple, together with a similar circular blue enamel frame depicting a watercolour: still life vase of flowers

Two still life studies, initialed 1914, engraving, giltwood frame with portrait and four ceramic studies in brass frames

Oil on board, still life, fruit on a hedge

Bow fronted mahogany sideboard, early 20th century, the top, central door and inverted bowed side doors covered in tooled leather and each with an oval painted panel of a still-life with flowers, on scroll carved cabriole legs and ball and claw feet, h: 37 x w: 54.25 x d: 22 in.

Still-life of peach and plums, unsigned, watercolour, h: 6.50 x w: 6.50 in.

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

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

Wilfred G. May, in the style of William Russell Flint, two watercolours of Spanish dancers, 13.75" x 9", and three portraits W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, in the style of William Russell Flint, watercolour still-life of Sunflowers, dated '97, 9" x 8", and seven other still- lives W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

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

Wilfred G. May, in the style of William Russell Flint, beach landscape with four female nudes, signed W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 19 x w: 24 in.

Wilfred G. May, in the style of William Russell Flint, watercolour beach scene with reclining nude, signed and dated 1988 W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 22 x w: 14 in.

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

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

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

Wilfred G. May, in the style of William Russell Flint, watercolour of seated female nude, signed, 13" x 9" , and four other female nudes W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, in the style of William Russell Flint, watercolour beach scene of two female nudes eating a watermelon, signed and dated 1989, 13" X 17" W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, in the style of William Russell Flint, watercolour full-length portrait of a girl in a white dress, signed, 12" x 8", and four other portraits W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

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

Wilfred G. May, in the style of William Russell Flint, watercolour of a female nude, signed and dated 1978, 13" X 6", one other portrait, one still-life and two landscapes W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.

Wilfred G. May, in the style of William Russell Flint, three studies of reclining nudes, in provocative poses W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 15 x w: 21 in.

Wilfred G. May, watercolour of, The Three Degrees signed and dated '86 W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 14 x w: 18 in.

Wilfred G. May, watercolour of a reclining female nude by a swimming pool, signed, circa 1940 W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 20 x w: 14 in.

Wilfred G. May, watercolour of seated female nude, signed and dated 1991 W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years. h: 19 x w: 14 in.

Wilfred G. May, a collection of 11 watercolour sketches and oils of the same model taken from life W. G. MAY 1922 -. , (Wilfred Glyndon May BSc FICE) W. G. May is a self-taught watercolourist who also works sometimes in pastels, crayons or oils. His greatest influence is Sir W. Russell Flint, of whose technique he has made a lifelong study. Russell Flint's fluid watercolours and exotic nudes inspire many of May's nude figure paintings, but the artist also specializes in clothed figures - particularly female dancers - and portraits. The occasional flower study, landscape or still life also finds a place among his work. May attained his Civil Engineering degree at University College, London in 1943, after which he became an officer in the Royal Engineers for the remainder of the Second World War, stationed in North Africa. He then worked for the WS Atkins Group until 1981, when he retired in order to become a full-time artist. He has exhibited in galleries in the Epsom and Dorking area, and served for several years as Chairman of the Epsom Art Group, whose exhibitions are held at Bourne Hall, Ewell. In his home village of Tadworth he has been influential in the amateur art world, as an inspirational art tutor and leader of outdoor painting expeditions. W. G. May continues as an art tutor, but gave up his own painting career two years ago due to illness. Most of his earlier work has been sold. What remains is pieces of work never before offered for sale, and some from recent years.