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19TH CENTURY CONTINENTAL SCHOOL "Quiet Moment", a seated boy, in the distance a lakeside town, Watercolour painting, monogrammed, 25cm x 20cm, ornate gilt gesso frame with gilt oval slip

AFTER WILLEM HOEKBOEK (1839-1895) "Amsterdam", in the foreground canal shipping. Watercolour painting, circa 1870, 40cm x 57cm, mounted in ornate gilt glazed frame

WILLIAM CARLAW "Lindisfarne", with fishing boats, figures and horse & cart on the beach, Watercolour painting, signed, 16cm x 24cm, in ornate gilt frame

L.FISCHER "Portrait of a Lady", a mid 19th century Watercolour painting, signed and dated 1856, 24cm x 20cm, gilt oval frame, mounted and glazed

Large Japanese watercolour painting of two seated men, signed and having character marks, 44cm x 68cm

Mabel Lucie Attwell colour print 'Everybody's Doing It', two 1930's dried flower pictures, embroidered fragment and five other items and a watercolour painting of Colmer's Hill, by local artist Tony Heathershaw

John Harrold - a rare original page of artwork from the Rupert ' 50th Daily Express Annual ' c1985. Watercolour painting, with black-line acetate overlays. The artwork being that used for page 100 of the annual ' Rupert Has The Answer '. Signed to top by Harrold and dated 1993. Along with a copy of the annual, and two other similar period Rupert Annuals - all signed. The artwork panel measuring approx; 33cm x 30cm. 

John Lawrence - Watership Down - rare original watercolour illustration. Original painting in watercolour and ink. Depicting the main protagonists running through a field towards the farm. Signed in the lower corner by Lawrence. A charming and rare original book illustration painting. Framed. Total size approx; 29cm x 31cm. Watership Down is a survival and adventure novel by English author Richard Adams, published by Rex Collings Ltd of London in 1972 with illustrations by John Lawrence. Set in southern England, around Hampshire, the story features a small group of rabbits. Although they live in their natural wild environment, with burrows, they are anthropomorphised, possessing their own culture, language, proverbs, poetry, and mythology. Evoking epic themes, the novel follows the rabbits as they escape the destruction of their warren and seek a place to establish a new home (the hill of Watership Down), encountering perils and temptations along the way.

JOHN MCNAIRN Scottish (b1910-2009) 'still life with roses and apples', watercolourReputedly his last painting 2008. Condition Report: Prior to bidding, please consult the additional photos provided and ask all pertinent questionsL: 26cm approx H: 22cm approx

Framed Watercolour Painting - Visible Picture 13.5" x 2"

Original Signed Watercolour by Liverpool Artist Sandra Cooper. Signed to bottom right hand side of painting. Mounted and framed behind glass. Measures 40'' x 32'' including frame. In excellent condition, see accompanying images.

Leslie Goodwin. Painting Grey and Ochre, watercolour, signed and titled verso, 13cm x 21cm.

signed lower right "J Wheeler / Bath / '77" oil on canvas; together with a miniature of the sitter, watercolour, in an ornate gilt frame with vine leaves (2) (Dimensions: 77 x 104 cm; 8 x 5 cm)(77 x 104 cm; 8 x 5 cm)Footnote: Other notes: "Duellist" was actually foaled in 1869 - his original name was "Gunpowder" but Sir Philip renamed him "Duellist". The present painting suggests that "Duellist" was now being used for jumping. Sir Philip rode "Duellist" four times in races, winning once. We are grateful to David Oldrey for his assistance with the catalogue entry.Condition report: A little discolouration to the watercolour in the gilt frame.

Donald Wilkinson (British, 20th century), "Gathering Clouds Above a Lakeland Backdrop", signed and dated 1997, watercolour and pastel. 53 cm x 69 cm (see illustration). ARR CONDITION REPORT: The painting itself is in very good order with no condition issues that we can see. The colours are bright and strong with no discolouration. There are no scratches, tears or marks to the paper. The frame and glazing will be original. The card mount is a little discoloured as is the outer frame but not significantly.

Percy Kelly (1918-1993), "Haystacks, West Cumbria", signed and dated 1959, watercolour. 53 cm x 72 cm (see illustration). ARR CONDITION REPORT: The painting is in generally good order. It is well framed and mounted. The painting itself is very slightly rippled but in our opinion this is not problematic. There is no evidence of any repairs or significant problems with the paintwork. The watercolour has been applied quite thickly in certain areas and there are small blebs to the paintwork in places. Some small dots of paint may have detached themselves from the work leaving the occasional glimpse of the paper beneath. Percy Kelly did not use particularly good quality paints and there is some discolouration in places but no real significant problems.

Edward Horace Thompson (1879-1949), lake and mountain scene, signed and dated 1926, watercolour. 25 cm x 35 cm. CONDITION REPORT: The painting is in generally good order with no significant condition issues. It is in an original mount and original gilt frame neither of which are in particularly good order. There is however no issue with the painting itself.

Edward Horace Thompson (British 1879-1949), a snow covered view of Skiddaw, signed, watercolour. 16.5 cm x 24 cm (see illustration). CONDITION REPORT: The painting is in first class condition with no issues. The colours are bright and crisp. There is no foxing. We can see no evidence of any damage or any restoration. It is well mounted and in a perfectly serviceable simple gilt frame.

Edward Horace Thompson (British 1879-1949), "Derwentwater", signed and dated 1926, watercolour. 23.5 cm x 54 cm (see illustration). CONDITION REPORT: The painting is in generally in good original untouched condition. It is in an original frame and mount both of which are a little tired. The painting itself is in generally good order with only minor discolouration to the paler parts of the sky. There are no serious condition issues.

Edward Horace Thompson (British 1879-1949), "Full Summer, Haweswater to Bow Fell", signed and dated 1923, watercolour. 43.5 cm x 59 cm (see illustration). CONDITION REPORT: The painting is in an original mount and frame. The glass is a little dirty on both sides. There appears to be a faint surface scratch to the left hand bottom corner of the image which runs across the extreme left hand large rock. This is minor but visible. The sky is a little yellowed. Other than this the condition is generally good. The frame glass is cracked.

5 Books of British Art History - 2 Vols “The Dictionary of British Watercolour Artists up to 1920, by H.L. Mallalieu, 1976, 1979 & 1 Vol “The Dictionary Of British Artists” 1880-1940 by J Johnson & A.Greutzner & “Dictionary of British Artists 1900-1950 by Grant M.Waters & “British 19thC Marine Painting” by Denys Brook-Hart (5)

Barlow, Phyllida1944 Newcastle-upon-Tyne"untitled containers". 2011. Acrylic on watercolour paper. Mounted on card. 56 x 75cm. Signed, dated and titled verso: Phyllida Barlow untitled containers 2011. Framed. Not examined out of the frame. Provenance:- Hauser & Wirth, Zurich (label)Exhibitions:- Auf AEG (Halle 20), Nuremberg 2015. Erläuterungen zum KatalogPhyllida Barlow Contemporary Art 2010s Objects Painting Acrylic IndustryBarlow, Phyllida1944 Newcastle-upon-Tyne"untitled containers". 2011. Acryl auf Aquarellpapier. Auf Karton montiert. 56 x 75cm. Signiert, datiert und betitelt verso: Phyllida Barlow untitled containers 2011. Rahmen. Im Rahmen beschrieben. Provenienz:- Hauser & Wirth, Zürich (Aufkleber)Ausstellungen:- Auf AEG (Halle 20), Nürnberg 2015. Erläuterungen zum KatalogPhyllida Barlow Großbritannien Zeitgenössische Kunst Unikate 2010er Gegenstände Malerei Acryl Industrie- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Schleime, Cornelia1953 Berlin"Der Schimmelreiter". 2005. Watercolour and India ink on laid paper. Mounted on card. 58 x 77cm. Signed, dated and titled below the depiction: "Der Schimmelreiter" C.M.P Schleime 2005. Framed. Not examined out of the frame. Provenance:- Galerie Hanna Bekker vom Rath, Frankfurt am Main (label)Literature:- Galerie Michael Schultz (ed.): Cornelia Schleime. In der Meute steht die Beute, Berlin 2005- Gisbourne, Mark/Schmidt, Hans-Werner/Bleyl, Matthias et al. (eds.): Eros und Thanatos, Leipzig 2012, p. 40, ill. 22, ill. Erläuterungen zum KatalogCornelia Schleime Germany Dresden School - GDR Figurative Painting Contemporary Art 2000s Horses Works on paper Watercolour SportsSchleime, Cornelia1953 Berlin"Der Schimmelreiter". 2005. Aquarell und Tusche auf Bütten. Auf Karton montiert. 58 x 77cm. Signiert, datiert und betitelt unterhalb der Darstellung: "Der Schimmelreiter" C.M.P Schleime 2005. Rahmen. Im Rahmen beschrieben. Provenienz:- Galerie Hanna Bekker vom Rath, Frankfurt am Main (Aufkleber)Literatur:- Galerie Michael Schultz (Hrsg.): Cornelia Schleime. In der Meute steht die Beute, Berlin 2005- Gisbourne, Mark/Schmidt, Hans-Werner/Bleyl, Matthias u.a. (Hrsg.): Eros und Thanatos, Leipzig 2012, S. 40, Fig. 22, Abb. Erläuterungen zum KatalogCornelia Schleime Deutschland Dresdener Schule - DDR Figurative Malerei Zeitgenössische Kunst Unikate 2000er Pferde Papierarbeit Aquarell Sport- - -19.00 % VAT on the hammer price25.00 % buyer's premium on the hammer price19.00 % VAT on buyer's premiumArtist resale rights:1.50 % on hammer price over 400 EUR0.50 % on hammer price over 200,000 EUR0.25 % on hammer price over 350,000 EUR0.13 % on hammer price over 500,000 EUR

Henry Albert Hartland, Irish (1840 - 1893)Watercolour: "On the Side of the Bog of Allen," approx. 24cms x 50cms (9 1/4" x 20") signed lower right, in later frame. (1)Note: This watercolour formed the basis from which a large oil painting was executed by the artist, and hangs in the Walker Gallery, Liverpool.

•Charles Edward Brittan (1870-1949) SCORHILL DOWN, CHAGFORD, WITH SHEEP GRAZING Watercolour, signed, titled in pencil verso, 34 x 50cm, (foxing to lower half of painting).

Edward Davies, Stoneywell Nr. Markfield, Leicestershire, watercolour, signed, 37cm x 53cm, label verso; and a companion painting, Stream in The Midlands, watercolour, signed, 37cm x 53cm, Royal Institute label verso. (2)wat

A watercolour painting of 2 1920's ladies in an art deco setting, signed B Minter.

A Chinese silk mounted watercolour scroll painting of a couple bathing, size 199 x 68cm.

Bristol School.- Women artists.- Carpenter (Mary, English educational, penal and social reformer, 1807-1877) An album of twenty watercolours, ten by Carpenter herself from the years 1832 to 1838, and others by Bristol School artists, including a landscape by George Arthur Fripp (1813-1896), a view of the Acropolis by James Johnson (1803-1834), a view of Odsey House, Hertfordshire, by A. Needham, a "composition" landscape watercolour by Anna Russell [née Worsley] (1807-1876) the noted Bristol botanist, a monochrome study of a valley by Samuel Jackson (1794-1869), a maritime view, possibly in [?]South America, with a sailing ship at anchor and a second boat with slaves rowing, by Nathaniel Neal Solly (1811-1895), the biographer of Bristol-based artist William James Müller, and four others unattributed but probably by a slightly later hand, 20 watercolours, pen and black ink title page that reads 'Mary Carpenter/ Early Sketches taken chiefly from the years 1832 to 1838', watercolours with pen and ink attributions and dates, all but five of the works are neatly tipped onto album leaves, some minor spotting and surface dirt, occasional light browning, original burgundy straight-grain morocco, gilt, rubbed and worn, small folio, circa 1832-1838.⁂ Rare. Fine early watercolours by the leading female advocate of deprived and delinquent children in mid-nineteenth-century England, and one of the first philanthropists to see the need to provide special facilities for their care. Carpenter was based in Bristol from 1829, and the present watercolours by her and various associates are from the ensuing decade. We have traced only four watercolours by Carpenter herself, all of which are held in the Bristol Museum & Art Gallery collection."Mary developed a compulsion to set the world to rights. Apart from watercolour painting, which expressed a sensitivity to the beauty of her surroundings, she had little interest in female accomplishments" [Frank Prochaska, Oxford DnB, 23 September 2004] List of works with attributions inscribed (four further works included, but not listed below, are without an attribution):1. George Arthur Fripp (1813-1896) - Valley landscape with farmhouse and cattle2. Mary Carpenter (1807-1877) - Lake Marathon, Greece3. James Johnson (1803-1834) - The Acropolis 4. Mary Carpenter (1807-1877) - Composition from the Hemlock Stone, Nottingham5. A. [?] Needham - Odsey House near Royston, Herts.6. Mary Carpenter (1807-1877) - Swansea Works7. Anna Russell [née Worsley] (1807-1876) - Composition8. Mary Carpenter (1807-1877) - Bolton Abbey9. Mary Carpenter (1807-1877) - Snuff Mills near Stapleton10. Mary Carpenter (1807-1877) - Composition 11. Mary Carpenter (1807-1877) - Lynmouth12. Mary Carpenter (1807-1877) - Study from Claude13. Samuel Jackson (1794-1869) - Lynmouth 14. Nathaniel Neal Solly (1811-1895) - Maritime scene with sailing ship at anchor, and a second boat with slaves rowing15. Mary Carpenter (1807-1877) - Cheddar Gorge16. Mary Carpenter (1807-1877) - The Dart near Ashburton

John Thompson (1924-2011), "Rhodes Bank, Oldham", signed and titled, watercolour and ink, 28.5 x 38.5cm, 11.25 x 15.25in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

English School, 19th century, Girl with a basket of flowers, unsigned, oval, watercolour, 43 x 33cm, 17 x 13in.Condition report: The painting is in good, original condition with strong colours. The paper has yellowed universally across the painting and there are some minor surface scratches across the paper. The painting is framed and glazed.

James Burrell Smith (1822-1897), Figures outside a cottage, signed and dated 1874, watercolour, 32.5 x 48.5cm, 12.75 x 19.25in.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

English School, 19th century, Portrait of a gentleman wearing a head scarf, unsigned, oval, watercolour on paper, 12.5 x 9cm, 5 x 3.5in, set in a gilt-metal frame, together with another similar, 3 x 2.5cm, 1.25 x 1in, set in gilt-metal frame with decorative gilt fabric mount with scrolling detail (2).Condition report: The paintings are both in good, original condition with strong colours. The paper below the larger portrait has browned universally across the painting and there is some minor craquelure across the more impasto areas. The paintings are both framed and glazed.

Philip Wilson Steer O.M., N.E.A.C. (1860-1942), Rural view, signed and dated 1917, watercolour, 22 x 27.5cm, 8.75 x 10.75in.Condition report: The painting is in good, original condition with strong colours. The paper has browned universally and there is some foxing across the painting. The painting is framed and glazed.

George Stainton (British, 1838-1900), Maritime scene with numerous boats, signed, watercolour, 26 x 38cm, 10.25 x 15in.Condition report: The painting is in good, original condition with strong colours. There are some minor spots of foxing across the painting most notably in the sky area. The painting is framed and glazed. The frame has some minor knocks and losses commensurate with age.

Grace H. Hastie (fl.1874-1927), "In the Pass of Llanberis ", signed, titled on label verso, watercolour, 22 x 33cm, 8.5 x 13in.Condition report: The painting is in good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Brian Dobson, 20th century, "San Tropez", signed, titled on verso, watercolour, 51.5 x 72cm, 20.25 x 28.25in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed.

George Henry Benton Fletcher (1866-1944), Scarab of Amenhotep III at the north-eastern corner of the Sacred Lake of King Thotmoses III at Karnak Temple, unsigned, titled and extensively inscribed on verso, watercolour, 32.5 x 25cm,. 12.75 x 10in.Condition report: The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

John Ernest Aitken (British, 1881-1957), "Showery Weather, Chioggia", signed, titled on label verso, watercolour, 23.5 x 33.5cm, 9.25 x 13.25in. * Studied at Liverpool, Manchester and Wallasey Schools of Art. Settled in the Isle of Man. Exhibited many at the Walker Gallery, Royal Cambrian Society and the Royal Society of Watercolourists.Condition report: The painting is in very good, original condition with strong colours. There are one or two minor spots of foxing across the painting most notably in the sky area. The painting is ornately framed and glazed. The frame has some minor knocks and losses commensurate with age.

Francis William Topham R.A. (1808-1877), "Spanish Peasant Girl", titled on accompanying gallery information, watercolour, 34 x 26.5cm, 13.25 x 10.25in.Condition report: The painting is in good, original condition with strong colours. There are some minor spots of foxing across the painting most notably in the top right hand corner. The painting is framed and glazed.

Samuel Towers R.C.A. (1862-1943), "Llanberis Lake with Snowdon and Llanberis Pass in the Distance", signed and dated 1914, titled on artist's label verso, watercolour, 51.5 x 72.5cm, 20.25 x 28.5in.Condition report: The painting is in good, original condition with strong colours. There are some minor spots of foxing across the painting. The painting is framed and glazed.

Gordon Radford (1936-2015), "Brancaster, Norfolk", signed and titled, watercolour, 30.5 x 44.5cm, 12 x 17.5in. Artists’ Resale Right (“droit de suite”) may apply to this lot.Condition report: The painting is in good, original condition with strong colours. There is some minor foxing across the painting. The painting is framed and glazed.

A GOOD PAIR OF JAPANESE SCHOOL WATERCOLOUR PAINTING, a temple at sunset and houses on a river at sunset, Image 37cm x 24cm.

Y PORTRAIT MINIATURE OF PRINCE WILLIAM FREDERICK, DUKE OF GLOUCESTER AND EDINBURGH LATE 18TH/ EARLY oval, watercolour on ivory, shown in three-quarter profile, wearing a red jacket, blue sash and the Order of the Garter, in a gilt metal frame with an enamelled coronet bale and inscribed WILLIAM FREDERICK DUKE OF GLOUCESTER, with woven hair verso (Dimensions: 7cm high)(7cm high)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/Condition report: general good condition and appearance overall no notable splits or cracks to the ivory; looks relatively flat but has not been viewed out of the frame no areas of damage or loss to the painting the enamel on the coronet with a small chip to the L edge the hair is mainly intact but with some loose hairs that have worked out of the knot the hair with some very small brown round particles visible in places when viewed under a loupe, this may be dust or powder and seem to be attached to some of the hair strands the glass and bezels are in good order

A late 19th century Victorian watercolour painting of a woodland scene with foxgloves, attributed to Thomas Robert Ablett, with biographical details verso. Framed and glazed. Measures 23 x36cm.

A group of Japanese picturesComprising Japanese framed watercolour on silk of prunus blossom, signed and sealed, 61cm high, 42cm wide, a small Japanese six fold table screen of a mountain scene, ink on gold silk painting, signed and sealed, 24cm high, 55cm wide, a pair of Japanese framed and glazed silk embroideries of birds, signed and sealed, i/s each 30cm high, 21cm wide, a Taishō period framed and glazed ink on silk of a fox watching ducks by the river, 70cm high, 62cm wide and Moonlight 52/77, signed Sato, ’86 a limited edition print of blossom in the sun, glazed and framed, signed and sealed, i/s 61cm high, 29cm wide. (6)

Edmund Morison Wimperis (British 1835-1900)/North Wales/signed/watercolour, 59cm x 89.5cm/see illustration CONDITION REPORT: Condition appears good. Framed behind glass and we have not removed it for examination. Some bugs and a small wood or paper splinter have got under the glass. No labels to back. Gilt plaster frame has some very minor knocks but generally this is a lovely painting in ready-to-hang condition.

Thomas Miles Richardson Jnr. RWS (British 1813-1890)/Italian Lake Scene/watercolour, 28cm x 39.5cm CONDITION REPORT: No signature on the painting. Colours have faded, otherwise condition appears good.Provenance: The Estate of the late Cecil Williams

Talbot Hicks, abstract painting of a town with trees to foreground, in deep pinks, paler pinks and white, watercolour, in glazed frame (damage to frame), 28 x 39cm

Manner of Thomas Rowlandson watercolour: In the manner of Thomas Rowlandson, this very convincing signed watercolour has extensive research accompanying the painting, carried out by the National Portrait gallery & the Boston University in the 1980's that indicates it is in fact a convincing copy. Measures 19.5cm x 17.5cm excl. mount & frame.

Original Gouache watercolour painting of Great Western Railway Castle No 4037 THE SOUTH WALES BORDERERS on shed by Vic Welch. Mounted, framed and glazed with non reflective glass, painting measures 19.5in x 12in and is in excellent condition.

Possibly Alma-Tadema family - Bridge at Aylesford - 18cm x 25.5cmThis watercolour had been elaborately mounted. Removing the old mount revealed the original pencil endorsement, Tadema, in a 19th century hand. This could refer to a member of the Alma-Tadema family. The painting probably shows the bridge over the Medway at Aylesford.

Anderson, Robert (after) - Pair of landscapes - 23.5cm x 50cm eachRobert Anderson (1842-1885), best known as an engraver, began painting in oils and watercolours during the last five years of his life. He was a member of the Royal Scottish Watercolour Society and an Associate of the Royal Scottish Academy. The popularity of his work attracted a number of imitators. The signature on Bringing in the Catch, (lower left) is certainly not his, as the painting was undoubtedly painted after Anderson's death - the paper bears a 1910 watermark. Boats on a Loch may be, likewise, by a follower.

Four Chinese erotic subject paintings, 19th century, watercolour on paper laid on card, each depicting amorous couples in gardens, on balconies and terraces and at windows of pavilions, each 23.5cm. by 21cm.; and a further erotic subject painting on silk depicting a couple in an interior, 29.2cm. square, (5).

Good framed Chinese watercolour painting Birds and Blossoms, signed to left in characters, in vintage wood frame, (57cm X 100cm approx, image).

Emma Radley (British early 20th century): 'Harewood House near Leeds', watercolour signed, titled and dated 1922, 48cm x 76cmProvenance: commissioned by the owner of Harewood House; sold together with a photograph of the artist and her brother posing with the painting Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

WATERCOLOUR OF H.M.S VERDUN - SILVER FRAME a watercolour of H.M.S Verdun, signed by Colin Gray 1919, in a silver frame which is inscribed H.M.S Verdun, April 2nd 19. Also with a small painting of H.M.S St George, signed by W Fred Mitchell (William Frederick Mitchell (1845-1914), 1911, and marked on the gilded frame H.M.S St George, Oct 09-Jan12. Silver frame marked for Birmingham, 1916, Silver Frame 24cms by 15cms, Mitchell painting 13.5cms by 9.5cms. (2) *H.M.S Verdun was an Admiralty V Class Destroyer of the Royal Navy, which saw service in WW1 and WW2 and was launched in 1917. Verdun was selected to carry The Unknown Warrior across the English Channel because her name would be a tribute to the French people and the endurance of it's armies at Verdun in 1916. After finishing service the ships bell was removed and now hangs on a pillar in Westminster Abbey, close to the tomb of the Unknown Warrior. William Frederick Mitchell (1845-1914) was a British artist commissioned to paint many naval and merchant ships, some of which are in the National Maritime Museum in Greenwich.

19TH CENTURY CHINESE SCHOOL "Basket of flowers" watercolour gouache on rice paper unsigned CONDITION REPORTS Whilst basically sound, there are three small little nicks or holes to the bottom area of the painting - to the bottom right, to the base of the basket and to the bottom left and a very small scratch above the central white flowers. Frame modern. Dimensions - 19 cm x 12 cm to the edge of the blue banding.

Seven drawings in three mounts, pencil, watercolour and gouache (Dimensions: Various sizes, the largest 25cm x 20.5cm (9.75in x 8in), unframed (3))(Various sizes, the largest 25cm x 20.5cm (9.75in x 8in), unframed (3))Footnote: Provenance : From the Estate of an important St. Ives’s artist Note: ST. IVES Nestled along the coast of West Cornwall, St Ives is a fishing town that quickly became a centre for modern and abstract developments in British art. A cultural and artistic haven since the late 1800s, St Ives has been known to attract and enchant artists from across the world. In 1939, sculptor Dame Barbara Hepworth and then husband, artist Ben Nicholson, settled in St Ives and established a base for the abstract, avant-garde movement in Britain. With the end of World War II, a new generation of artists began to emerge, led by Hepworth and Nicholson. These artists had a shared interest in abstraction and a deep fascination with the coastal landscape of West Cornwall. Many used the shapes, forms, and colours of the fishing town as a source of inspiration in their work. This forward-thinking collective of artists, which included Peter Lanyon, Roger Hilton, W. Barns-Graham , and Patrick Heron, became known as the ‘St Ives School’. Denis Mitchell, an English abstract sculptor, was one of the artists who became an active member in this artistic community following WWII. From 1949-59, he acted as Hepworth’s assistant and personally worked on many of her sculptures. It was during this decade that Mitchell developed an interest in the purity of form and the manipulation of space. His sculptures, such as the gravity-defying Carn Galver II , 1968 (Lot 236) and the sleek Roseveor , 1985 (Lot 238), show a strong understanding of balance, line, movement and light. Mitchell’s works, although abstract in form, remain rooted in the landscape of St Ives. Working primarily in bronze and wood, he often hand carved his works and hand finished his bronzes. Mitchell placed great emphasis on texture and material in the design and execution of his sculptures. Other notable British abstract artists with strong involvement in the St Ives School were Sir Terence (Terry) Frost R.A. and Breon O’Casey. Terry Frost began his artistic career in his 30s, after befriending English painter Adrian Heath while in captivity at a Bavarian prison camp during WWII. Frost attended several different art schools upon his return to England and spent a year in St Ives, before holding his first solo show there in 1947. He continued to exhibit in St Ives over the years and settled there in 1951, working as an assistant to Barbara Hepworth. It was during this time that he developed and refined his distinctively vibrant, geometric abstract style, which typically involved colourful patterns of overlapping squares, rectangles and half-circles, as evident in his works Sun and Boat (Kemp 135), circa 1992-1996 (Lot 228), Timberaine E (Kemp 207e), 2000-01 (Lot 271) and The Island, 1950 (Lot 232). Breon O’Casey was another St Ives artist who worked with both Denis Mitchell and Barbara Hepworth, and found inspiration in the Cornish light, colour and landscape. O’Casey moved to St Ives in the 1950s and lived in Cornwall until his death in 2011. He began as an apprentice for Mitchell but quickly moved on to assist Hepworth, working part-time in her studio alongside Terry Frost. In 1962, O’Casey began experimenting with his own pictorial vocabulary of geometric form. Like Frost, he painted in a uniquely abstract manner, capturing the world around him through a series of circles, triangles and squares, like that in his oil painting Red Sun (Lot 237). The physical, cultural and social landscape of St Ives had a profound impact on these artists, and ultimately encouraged a new abstract, modern art movement in Britain. Lyon & Turnbull are honoured to offer this diverse range of artworks from the zenith of the St Ives School.

Monogrammed (lower right) and signed in pencil, watercolour and pencil on paper (Dimensions: 37cm x 54.5cm (14.5in x 21.5in))(37cm x 54.5cm (14.5in x 21.5in))Footnote: Provenance: Ernest, Brown & Phillips, Ltd., The Leicester Galleries, London; Sir Frederick Gibberd C.B.E., R.A.; Christie's, London, 26 October 1994, lot 77; Private Collection. Exhibited: Ernest, Brown & Phillips, Ltd., The Leicester Galleries, London, Exhibition of Drawings by Paul Nash , November 1932, no.31. Literature: Andrew Causey, Paul Nash, Clarendon Press, Oxford, 1980, p.418, no. 727, pl. 508; Apollo, Volume XVI, July 1932-December 1932, The Present Tendency of Paul Nash, p.324 (illustrated). In the artist John Armstrong's Apollo review of Nash's exhibition at the Leicester Galleries in 1932 he stated that his work at this exhibition had a unique quality "which is never naked or raw, but at the same time, never allows itself to be dismissed as negligible. This is particularly the case in his present exhibition of water-colours at the Leicester Galleries...The illustrations [in Apollo] give only a hint of the delicacy and significance of the originals, but, in the drawings themselves, this combination of instinct and design is as apparent as in his most considered painting." In the early 1930s, Nash started to experiment with photographic angles and unexpected cropping in his work, producing perplexing and surreal effects that would come to be a significant part of his oeuvre in this decade. Easter Sunday is an example of him exploring these flattened forms and different plains of vision which purposely disconcert the viewer with inexplicable disjunctures.Condition report: Paper appears sound. Artist's pinholes to corners. Otherwise, good condition and colour, no evidence of creases or tears.

A Chinese scroll painting, decorated a landscape, watercolour, 86 x 36 cm