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SAYA MYIT (1886-1966) PORTRAIT OF A YOUNG BOY A Burmese painting, ink on paper, signed Myit and dated 28-10-51, together with a watercolour by U Maung Maung Gyi (1890-1940) depicting a river landscape, both framed and glazed, 42.4cm x 30.7cm. (2) Provenance: from the collection of Robert Thornhill (d.2018). The painting by Saya Myit directly acquired from Andrew Ranard. Robert Thornhill was a connoisseur and teacher of Fine Art. He developed a keen interest in Burmese art, acquiring considerable knowledge of Burmese artists, their styles and influences, sharing with others his knowledge of this milieu. His home in Bangkok exhibited, with delight, the many acquisitions he collected over several years on visits to Yangon's art dealers in the early 2000s.

ATTRIBUTED TO J. ADOLPHE KISTE (op.c 1840-1860)A View of Exeter from Exwick Hillwatercolour3 1/2 x 5 1/2 in (8.9 x 13.9cm)A lithograph by T.S. Boys (after a painting by Kiste) depicting a view of Exeter from a similar viewpoint was published in 1850

A Sino-Tibetan Painting of a seated Bodhisattva, watercolour on paper, 59 x 30in. (framed)

A FRAMED AND GLAZED GOUACHE PAINTING DEPICTING A MOUNTAINOUS LAKE SCENE BY G STONE TOGETHER WITH A WINTER SCENE WATERCOLOUR BY ALAN BICKLEY AND A WATERCOLOUR SIGNED JACK GREEN (3)

Charles Oppenheimer (Scottish 1876-1961), Italian scene, watercolour, 24cm x 26cm signed and indistinctly titled lower left, glazed and framed. Condition - good, dirt to glass (please note on the images these look like spots to painting but are on the glass only), minor discolouration, appears free from any damage/repair.

AN EARLY 19TH CENTURY REVERSE PAINTING ON GLASS, depicting figures by a waterfall, a small Regency watercolour of a young couple and a similar hand-painted period cartoon (3)

ZHAO SHAO'ANG (1905-1998) MAGPIES AND WISTERIA A Chinese watercolour painting, ink and colour on paper, inscribed, signed Zhao Shao'ang, with two artist's seals, together with a book about the artist. ,94cm x 43cm. (2) Provenance: from the collection of Professor George Ian Scott. Professor Scott (1907-1989) was a famous ophthalmic surgeon who worked at the Royal Infirmary, Edinburgh. He was sent to Middle East as a consultant ophthalmologist for the Middle East Forces. Then he became the president of the Royal College of Surgeons in Edinburgh. In 1965, Professor Scott was appointed as the Queen's oculist in Scotland. He was also the founder of the Princess Alexandra Eye Pavilion in Edinburgh. The inscription on the right says the painting was given to Chen Jinghong as a gift for enjoyment. Chen Jinghong (1903-1993) was an important Hong Kong calligrapher, and very close friend to Zhao Shao'ang. In 1987, he was given an award by the Queen for his excellent achievements.趙少昂（1905-1998） 喜鵲紫藤 設色紙本 鏡框款識：荊鴻先生教正，辛未夏初少昂偶作於嶺南畫館。鈐印：少昂無恙、趙。來源：George Ian Scott醫生收藏（1907-1989）。Scott醫生生前是愛丁堡皇家醫院的眼科手術醫師，並曾擔任女皇在蘇格蘭時期的眼科醫生。陳荊鴻（1903-1993）師從康有為，擅長章草，作品別具一格，享有嶺南才子美名。曾遊歷新加坡、馬來西亞、日本、韓國、加拿大等國並舉辦個人書畫展。其與黃少強、趙少昂合稱“嶺南三子”。1987年，他以傑出的書法成就獲得英國女王授予的榮譽勛章。

XUE SONG (1965-) MONUMENT ON GREY BACKGROUND A Chinese painting, mixed media on canvas, signed Song 98, with inscriptions on the back dated 1998 and signed in Chinese, Xue Song 1998, 180cm x 150 cm. Provenance: from an English private collection, acquired from ShanghART Shanghai on 10th October 1999 for $7,000, a copy of the original invoice is available. Experiences are often the source of artistic creation. When Xue Song's studio burned to the ground, the accident inspired him to use ash and soot as a symbol of rebirth in his art. Xue uses charred and burned fragments of his previous works, newspapers and books to create collages of iconic politicians, calligraphy, Western art icons and pieces inspired by classical Chinese watercolour paintings. In Monument on Grey Background, Xue draws from one of Xu Beihong's famous horse paintings, reconstructing its iconic imagery using hundreds of prints of historically and politically famous figures, whilst prints of early Chinese stone rubbings are used for the background. In doing so, Xue attempts to generate a conversation with the old masters, creating a discourse between the old and the new, and building bridges between the East and the West. 薛松（b.1965）底座是灰的紀念碑 混合材料畫布 畫框款識：松，98，《底座是灰的紀念碑》薛松，1998。來源：英國私人收藏，1999年10月10日以7000美金的價格購於香格納畫廊（附發票複印件）。

In The Style of Terence Cuneo. A watercolour and bodycolour drawing on tinted light grey paper depicting, in horizontal format, an aero-engined racing car from the 1920s, seemingly speeding along the track at Brooklands, and with a fast-moving express train in the background. Evidently inspired by the work of Cuneo and with an imitation of his characteristic signature in the bottom left-hand corner, the detailed painting is nevertheless by a competent unknown artist. Mounted, framed and glazed. Visible image size 33 x 47cm. Good condition.

* ROBBIE BUSHE RSA, ON THE WRONG TRACK watercolour on paper, signed and dated '93 28cm x 37cm Mounted, framed and under glass. Label verso: The Scottish Gallery, 16 Dundas Street, Edinburgh. Exhibited: Edinburgh, The Scottish Gallery, 'Robbie Bushe - New Paintings'. 11 April - 4 May 1994 [Cat no 55/GCOS 6218]. Note: Robbie Bushe has won national awards throughout his career including the Guthrie Medal at the Royal Scottish Academy and most recently he was the winner of the £10,000 first prize in the inaugural W Gordon Smith Award (2016) with his painting being judged the best of over 500 submissions. Bushe is represented by The Open Eye Gallery (Edinburgh) and his most recent exhibition "Neo-Neanderthals" (a collaborative project between artists Robbie Bushe and Jeanne Cannizzo) was held at the Royal Scottish Academy (Edinburgh) 14th September - 20th October 2019.

* JAMES MCNAUGHT RSW RGI (SCOTTISH b 1948), MAUSOLEUM OF HALICARNASSUS gouache on paper, signed and dated 1983; titled verso 31cm x 26cm Mounted, framed and under glass. Provenance: label verso The Portal Gallery, 16A Grafton Street, London. Note: James McNaught RSW RGI (b.1948) paints buildings and street scenes, mysterious figures and other narrative elements in fictional combinations. James McNaught was born in Glasgow, the only son of parents who worked as carpet designers at Templeton’s Carpet Factory on Glasgow Green. He studied Fine Art at Glasgow School of Art and at Hospitalfield between 1966 and 1970. He won the Royal Scottish Academy painting award in 1970. In 2010 he won the Sir William Gillies Award at the Royal Scottish Society of Painters in Watercolour. James paints in gouache and watercolour with a delicate touch and a faultless technique. His paintings have an obsessive quality, they are witty and enigmatic and depict a surreal, brooding, slightly threatening world. McNaught has had multiple solo exhibitions in London, Glasgow, Edinburgh, Amsterdam and Munich. His paintings are highly sought after and held in significant private collections worldwide.

Attributed to Edward Lear English 1812-1888 - pencil ink and watercolour coastal scene, Seaford view towards New Haven, inscribed 18 Sep 41 - unsigned with notes verso 19x30cm, in a gilt frame, 38x49cm - painting in good condition, colours bright, small knocks to frame

After a study by Albert Joseph Moore (1841-1893), Watercolour on board, Copy of 'An Open Book', a study for Moore's painting 'Reading Aloud', 29.5cm x 23cm, Framed and glazed, The original study is held in the collection of the Victoria & Albert Museum, the finished work was first exhibited at the Royal Academy in 1884 and now hangs in the Kelvin Gallery, Glasgow

Local interest a watercolour painting of Marlborough High street by George Buckle

Rachel Bishop original watercolour painting: Painting of the design for the Noah's Ark Ginger Jar & cover made for Moorcroft mounted in an inlaid wood frame, overall size 30 x 35cm.

Rachel Bishop original watercolour painting: Painting of the design for the Special Occasions Vase made for Moorcroft mounted in an inlaid wood frame, overall size 30 x 35cm.

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.

19th century watercolour painting of North Wales: Watercolour of North Wales initialled G C and dated 1870, 25 x 17cm.

E H Marten Watercolour: Painting of coastal scene in gilt frame, 51 x 36cm.

W Stuart Lloyd Framed Watercolour (England 1845-1959). 'Cottage Along a River' Signed lower left and mounted behind glass in a gilt frame. Label to reverse reads 'Sidney P Winder, Artist Carver and Gilder in Works of Art...'. Total painting including frame measures approx 33 by 19 inches.

Peter Macgregor Wilson R.S.W. 1856 - 1928 Scottish Well Known Watercolourist, Exhibited at the Royal Academy, Title - Springtime In The Scottish Lakes with Figures, Boats Watercolour. Signed Lower Left. Mounted and Framed Behind Glass. Painting Size Only 11 x 19.25 Inches - 27.5 x 48 cm.

Tom Dodson 1910 - 1991 Artist Drawn and Signed Watercolour / Chalk Highlights - ' The Cabaret Dancer ' Signed by The Artist In Pencil. Mounted and Framed Behind Glass. Size of Painting Only - 8.5 x 6.5 Inches

Peter Gough - A 20th century watercolour painting on paper entitled 'solitude' depicting a crow perched on a branch in a snow covered landscape. Signed. Framed and glazed. Measures 61 cm x 80 cm.

Two late 19th / early 20th Century American watercolour paintings on paper, one depicting a military cavalryman on horseback on a country road with thatched houses behind, the other depicting a homestead with horses and men with rifles. Framed and glazed. One painting signed indistinctly. Inscribed in pen to the verso 'Early American'. Dimensions are 25cm x 34cms.

Barbara Leigh Smith Bodichon 1827 - 1891 - A 19th Century Victorian watercolour painting titled Trunks of Scotch Fir 1874, the painting depicting felled fir trees against a forest background. Signed to corner BLS Bodichon 1874. Framed and glazed with notation to verso. Barbara Leigh Smith Bodichon was an English educationalist and artist, and a leading mid-19th-century feminist and women's rights activist. She published her influential Brief Summary of the Laws of England concerning Women in 1854. She co-founded the English Woman's Journal in 1858. 42cm x 50cm.

Frank Duffield (British 1901-1982, Bristol Savage) - A mid 20th Century watercolour painting on paper entitled 'Snuff Mills', depicting a countryside mill with two figures fishing. Signed to lower right corner. Framed and glazed. Measures 46 cm x 65 cm.

David Martin- A Scottish framed and glazed watercolour painting depicting a harbour scene with fishing boats. Signed to lower left David Martin and titled 'Tarbert Loch Fyne'. Measures 54cm tall by 72cm wide. 

An early 20th Century shipping interest watercolour painting on paper of the RMS Mauretania at sea. Signed E Bullock 1920 to the corner. Framed and glazed.  Measures 28.5cm wide x 35cm high.

SANDRA BLOW, R.A. [1925-2006]. Abstract - double-sided, with various studies and notations on reverse. watercolour painting on card. 24 x 25 cm [overall including frame 35 x 35 cm]. Provenance: artist's estate; private collection, UK. St Ives artist. [good condition - a few paint splashes, but probably the artist's hand - possibly a few slight foxing spots? - unexamined out of frame]. Buyers premium 20% + vat payable..

SANDRA BLOW, R.A. [1925-2006]. Abstract - double-sided. watercolour painting on card. 32 x 23 cm - overall including frame 48 x 38 cm. Provenance: artist's studio; private collection, UK. St Ives artist. [very good condition - better than photo - a few tiny foxing spots on reverse - unexamined out of frame]. Buyers premium 20% + vat payable..

BETTY SWANWICK, R.A. [1915-89]. 'The Strange Reply', 1975. watercolour, signed & dated 1975. 47 x 48 cm - overall including frame 70 x 71 cm. Provenance: Royal Academy Summer Exhibition, 1976, no.403, [label on reverse]; Andrew Rolland collection [with letters from the artist]. Literature: 'Betty Swanwick', P Rossmore, p.118, D62 [collection Andrew Rolland, who bought it at the RA according to the labels and letters on reverse].  [very good condition - the painting is a bit lighter than the photos suggest - unexamined out of frame]. Buyers premium of 20% + VAT is payable. ARR 4%.

BETTY SWANWICK, R.A. [1915-89]. Woman & Geese, c.1959. watercolour painting. 26 x 36 cm - overall including frame 47 x 56 cm. Provenance: acquired directly from the artist by Mitch Mitchell [Jimi Hendrix drummer]. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.

BETTY SWANWICK, R.A. [1915-89]. Lion Tamer, c. 1959. watercolour painting. 26 x 36 cm - overall including frame 46 x 56 cm. Provenance: acquired directly from the artist by Mitch Mitchell [Jimi Hendrix drummer]. [very good condition - slight spot on lefthand edge, which might be foxing - unexamined out of frame]. Buyers premium of 20% + VAT is payable..

BETTY SWANWICK, R.A. [1915-89]. Mermaid, c.1959. watercolour painting. Provenance: acquired directly from the artist by Mitch Mitchell [Jimi Hendrix drummer]. 26 x 36 cm - overall including frame 47 x 56 cm. [very good condition - unexamined out of frame]. Buyers premium of 20% + VAT is payable.

NICHOLAS POCOCK (BRITISH, 1740-1821) The engagement between H.M.S. 'Northumberland' and a French squadron Watercolour on wove paper 18¼ x 28¼in. (46.5 x 72cm.) (2, a pair)Footnote: Early in 1812, Rear-Admiral Sir Harry Neale, commanding the Channel Fleet, found himself facing the problem of a small but powerful French squadron, under Commodore Martin le Foretier and consisting of two 40-gun frigates, Arienne and Andromaque , in company with the 16-gun brig Mamelouck , loose on the open sea having broken the blockade and come out of Nantes under orders to disrupt British and other shipping in the Western Approaches.. The 74-gun HMS Northumberland (Captain Hotham) was ordered to cruise off Lorient and await the three French vessels which were expected there. On 22nd May, the enemy vessels were spotted off the Ile de Groix and Hotham ordered the 12-gun brig Growler , which was fortunately close by, to chase them while he sailed around the island to cut off their approach to Lorient. Realising that his original direct approach had been cut off, the French Commodore decided to run between Northumberland and the rocky shore, under the protection of the friendly shore batteries, and thereby attempt to reach his destination. Considering it unsafe to stand his own ship that close to the shore given her size, Hotham followed a parallel course to the French and prepared to engage them with broadside fire from a range of about 400 yards. Hotham and his Sailing Master, Hugh Stewart, had already hatched a daring plan in which they would sail as close as they dared to the Graul Rock, knowing that the French would have to sail between it and their ship, and then destroy them with massive broadsides. Unfortunately there was insufficient depth of water to allow them to pass between the rock and the mainland and any manoeuvring was made more difficult by the fact that the clouds of powder smoke were obscuring the rock from sight. Receiving fire from shore batteries and from the powerful French frigates, Northumberland passed within 200 feet of the rock and the French, as expected, tried to pass inside, between the rock and the mainland. At 15.45, both frigates ran aground and at 15.50, the brig followed. With her sails and rigging damaged, Northumberland was forced to retire out of range to effect repairs to her sails and rigging, leaving the three French vessels stranded by the falling tide. At 16.22, Northumberland returned to the scene to find the three French vessels now hard aground and heeling over. At 16.48, the Mamelouck cut away her mainmast in an attempt to lighten ship and try to escape. At 17.00, Growler arrived on the scene and, being much smaller, closed the range and opened fire with her 18-pdr. carronades. At 17.23, the Arienne's mainmast was shot away by Growler's fire and at 17.28 Northumberland anchored in six and a half fathoms of water and opened fire on the three French vessels with her starboard broadside. Hotham had chosen his position well: his ship was out of range of all but one of the shore batteries and the enemy vessels were helpless. At 17.55, the Andromaque caught fire and five minutes later, her fore-topmast fell and her crew were seen to abandon ship in the boats. By now the flames were spreading fast and at 18.45, the Andromaque's main and mizzen masts fell. At 18.49, the tide was fully out, the Andromaque was completely engulfed in flames and the other ship's bottoms were so badly damaged that they would fill with water when the tide came in. Captain Hotham decided that the time had come to leave the scene, so Northumberland got under way and moved out of range of the one shore battery which could fire on her. All the while, Northumberland had been coming under fire from this shore battery and it had done some damage and caused casualties aboard her. Four of her seamen and one of her Royal Marines had been killed and Lieutenant William Fletcher, three Petty Officers, 19 seamen and five Royal Marines had been wounded. When Northumberland ceased fire, Growler closed the range again and opened fire in order to prevent the French crews from returning to their vessels. At 20.00, the Andromaque blew up and was totally destroyed. At 22.00, the Arienne was seen to be on fire and by 23.30 was engulfed in flames. Mamelouck by this time was lying on her side and was also on fire. At 02.30 the following day, Arienne blew up and later that day, Mamelouck was also destroyed by an explosion. The first painting depicts H.M.S. Northumberland at the beginning of the engagement, intercepting the French frigates Arienne and Andromaque and the brig Mamelouck as they tried to cut between the Northumberland and the rocky shore with Northumberland opening up broadsides against the French vessels. The second painting shows the engagement at about 16.30. The three French vessels have run aground on Graul Rock. Arienne's mainmast has been shot away (far left), and the brig Mamelouck (center) is lying on her side. Northumberland has returned from making repairs and is shown at anchor whilst firing her starboard broadsides.Condition report: Early action: Repaired 5in. tear top left; Edges slightly nibbled; time staining; Late action: Creasing top left.

Two Late 19th century bronze medals. One awarded to Laura Johnson, later Dame Laura Knight (1877-1970), one of Britain's most famous painters and the other to her mother, Charlotte Johnson. Laura became the youngest student to enrol at Nottingham School of Art at the age of 13 in 1890. The medals were presented to Charlotte in 1881 and her daughter, Laura in 1893.They were awarded by the Science and Art Department of South Kensington Museum in London, now the V&A. Both medals measure 5.5cms approx. The edge of Laura's medal is inscribed with words  'Laura Johnson Subject 8b2 1893', while her mother's medal says 'Charlotte Johnson Nottingham Stage 16a 1881.' We understand 16a refers to painting the human figure or animals in monochrome from casts in oil, watercolour or tempura. 8b2 is unknown. Laura went on to become one of Britain's most famous and respected artists, paving the way for other female artists to gain recognition.Laura worked in oils, watercolours, etching engraving and drypoint and in 1903 married fellow artist Harold Knight. Known for capturing London's world of theatre and ballet in canvas and for her work as a war artist. She was also inspred by marginalised communities such as circus performers and gypsies. Laura became the only woman to be given First and Second World War commissions. In 1926 she was a made a Dame of the British Empire; in 1936 she was the first woman elected to full membership of the Royal Academy and in 1946 she was the only British artist to cover the Nuremberg trials

Arthur Royce Bradbury (British, 1892-1977) watercolour on paper, of a coastal scene, signed (lower right) 'Arthur Bradbury', 26cm x 37cm, together with another watercolour painting of a maritime scene, dated with an indistinct signature (lower left) 'R P*eil** 1871', 27cm x 42.5cm, both framed and glazed. ARR may apply to this lot (2)

FRAMED PAINTING OF W. E. WALKER SIGNED WATERCOLOUR

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

A printed map of Fribourg, with watercolour and ink painting of a church to foreground, monogrammed CB and dated 84 to lower right, framed and glazed, 16 x 12cm

Three framed sets of cigarettes cards; together with an Egyptian revival painting; and a watercolour study entitled "Cairo From The Pyramids", dated 1902

Watercolour painting "The Tennis Party" by Tom Simpson (British, active 1887-1926), circa 1910, signed, 22.5 by 33cm., mounted, framed & glazed, overall 48 by 57cm.This painting was featured in the book "Sport and the Artist" by Mary Ann Wingfield on page 244. A plate on the reverse is from the Wingfield Sporting Gallery.

AN EDWARDIAN WATERCOLOUR OF TWO CHILDREN ON A PAVEMENT signed with a monogram VO and dated 1904, 16cm x 14cm together with a late 19th century oil painting depicting a hunt, 19cm x 29cm; a small print of a country house by T A Clarke signed in pencil in the margin and two decorative prints of young women (5)

19TH CENTURY EUROPEAN SCHOOL "Josephine", portrait of a young woman, her hair in ringlets. Watercolour painting, inscribed "Josephine", 29cm x 22cm, gilt framed and glazed

LATE 19TH CENTURY ENGLISH SCHOOL "River scene with barge and ferry punt", a figure droving cattle on a track. Watercolour painting, monogrammed and dated (18)91, 23cm x 53cm, in plain framed, mounted and glazed

JAMES WARREN CHILDE (1778-1862) A PORTRAIT MINIATURE OF A GENTLEMAN WEARING A WHITE CRAVAT, Watercolour painting, oval 7.5cm x 6cm, inscription to the reverse "J.W. Childe pinxt 1818, 125 Strand, London", in ebonised and brass mounted frame, togethe r with a framed SILHOUETTE OF A LADY (2)

ERNEST HERBERT WHYDALE, A.R.E. (1886-1952) "Mare and Foal in a Meadow", extensive river landscape with willow trees and other horses. Watercolour painting, signed Whydale bottom right, 30cm x 39.5cm, gilt framed, mounted and glazed

MARGARET FISHER-PROUT (1875-1963) "Summer Afternoon", Lady sat in a Window, Watercolour painting, signed, inscribed verso, 38cm x 26cm, mounted in gilt glazed frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) ULLSWATER Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x  16.25in))(30cm x 41.5cm (12in x  16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxingin period gilt frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) YORK Signed and dated 1794 on the mount, pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxing in period gilt frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) KIRKSTALL ABBEY Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxing in period gilt frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) WINDERMERE Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down, time fading with some foxing in period frame

FRANCIS NICHOLSON O.W.S. (BRITISH 1753-1844) SCARBOROUGH Pen and ink and watercolour (Dimensions: 30cm x 41.5cm (12in x 16.25in))(30cm x 41.5cm (12in x 16.25in))Footnote: Note: Dubbed the ‘Father of English watercolour painting’, Francis Nicholson is best known for his landscapes. Nicholson was born in Pickering, North Yorkshire in 1753. He trained in Scarborough for three years before beginning his career back in Pickering, where he produced sporting pictures and portraits of his Yorkshire patrons. The mid-1780s saw Nicholson’s interest shift toward painting scenes of country houses, and this eventually led to his experimentation and exploration of landscapes in watercolour. By 1789, his works were exhibited at the Royal Academy and his landscapes had been included in several publications. Nicholson developed a technique with watercolour paintings which allowed him to create shadows and depth through the application/removal of beeswax. The Society of Artists purchased this method in 1799 and claimed that, through this practice, Nicholson had elevated watercolour paintings from simple, ‘stained drawings’ to possessing all the power of an oil painting. Nicholson moved to London around 1801 and, three years later, became founder-member of the Society of Painters in Watercolours, as well as a prolific contributor to their exhibitions. In 1820, he published The Practice of Drawing and Painting Landscape from Nature in Watercolours. The book was so wildly popular that it sold out and a second edition promptly followed in 1823. Nicholson revolutionised watercolour painting and ultimately paved the way for future landscape artists. JMW Turner was even said to have admired his work, citing Nicholson as ‘my model’. He died in London in March 1844 and is buried in Brompton cemetery.Condition report: Laid down time fading with some foxing in period gilt frame

MORGAN MICHELE: (1920-2016) French film Actress. Signed 11 x 15 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in black ink to the bottom right corner, also dated `Nov 67´, in her hand. Bearing to the verso a second watercolour. From 1970 Morgan spent a large part of her life to her passion, the painting. About VG £120-200

VIOLET MURIEL BARBER MIMPRISS (BRITISH 1895-1987) A foolish virgin - miniature painting Signed with monogram and dated 1915 (lower right), further inscribed with title and details of the artist on original label attached verso Watercolour heightened with gold paint on ivorine Oval, 85 x 100mm Exhibited: Royal Academy, 1913, No 2

** Brewis : A Mountainous Landscape, oil on board, signed, 36 cm x 48 cm, together with a watercolour drawing depicting a penguin, an oriental watercolour on silk depicting two pandas and an oil painting depicting an interior scene, all four parts framed. (4)

AFTER WILKIE - engraving 'The Rent Day', 50 x 63cms, oil painting on board of a gun dog with its catch and a watercolour (distressed) - river scene with cattle and cottage

Chloe Elizabeth Talbot-Kelly, Preliminary painting for Collins Guide to the Birds of New Zealand, signed, watercolour 20x24cm, and swallows in a barn, signed with initials, watercolour, 26x18cm, (2).

Fanny Mary Minns (aka Frances Mary Minns) 1847-1929 - Isle Of Wight born artist. An incredible unseen sketchbook of studies by Minns. The inner board signed ' FM Minns -Edinboro August 1900 '. The book features several finished and unfinished sketches, largely annotated by Minns noting where and who they are of. Sketches of note include; Holy Loch, Lay's Yard Colchester, On Cowes Pontoon (studies of people), Court Chapel Dresden, Leopold Vienna, Hungarian Shepherd and many others. Some coloured. A charming and rare artist's sketch book. Fanny Mary Minns, was born at Node Hill, Carisbrooke, Isle of Wight, Hampshire in 1847, sixth and youngest child of William Minns, partner in the dry cleaning and dyeing business of Bright and Minns, and his wife Mary née Bright, who married at Niton, Hampshire on 28 March 1836. The dying business lasted for some 164 years and allowed Fanny, the luxury of training as an artist. In 1851, a 4 year old, living at Node Hill, Carisbrooke, Isle of Wight with her parents, 57 year old William of Southampton and 38 year old Mary, and five siblings, Jane 13, William 12, Charles 10, Walter 8 and Kate 6, all born at Newport. It seems probable that Fanny received painting lessons from Ellen Cantelo (c.1825-1898) of Carisbrooke, who made her living as an artist. As the Royal Academy in London was closed to women until 1862 Fanny proceeded to Dresden Art Academy and she established herself as a teacher of painting. Her father died in 1852 and Fanny continued to reside with her widowed mother on the Isle of Wight. Working in watercolour she produced a huge number of local landscapes, working 'al fresco' to capture the immediacy of light and colour. She also did hasty sketches for further work in her studio and her continental travels certainly took her to Switzerland where Alpine scenes, including the Matterhorn are among her works. A member of the Ipswich Art Club 1889-1890 and exhibited from Glen Cottage, Isle of Wight in 1889, three pictures, 'Roses', 'In the New Forest, Sunset' and 'Alpine Anemones' she also exhibited two items of earthenware but she exhibited widely, including the Birmingham Art Gallery, the Walker Gallery in Liverpool, the Royal Society of British Artists and the Society of Women Artists. As well as teaching painting, Fanny received commissions to illustrate books from several publishers, including for 'The Silence of Dean Maitland', by local author Maxwell Gray (Mary Gleed Tuttiett), and illustrated 'Romance of the Hill Station and Other Stories' by Mrs H S Lerverton and Mary's landscapes caught the attention of Ruddock and Co, providing views of the Island and Dorset in the 'Artist' series of postcards. In 1911, she held an exhibition of her work at the Unity Hall in Newport where she displayed 110 paintings. Mary travelled in search of new subjects until the end of her life. She was of Langsnek, Medina Avenue, Newport when she died Ryde, Isle of Wight on 11 May 1929, aged 82, and buried beside her mother at Mountjoy Cemetery in Carisbrooke, she was unmarried. She is sometimes recorded as Frances but her birth and death records are Fanny. (From www,suffolkartists.co.uk/index.cgi?choice=painter&pid=1909)

George Brooks Percy Lillingston (1871-1899) Watercolour on paper painting of haystacks on farm scene with hills being signed by the artist. Framed and glazed. Consigned by a descendant of the artist, Lillingston was a painter of landscape and figure subjects. He lived in London and Leamington, latterly moving to Penzance from where he painted his two Royal Academy exhibits in 1878 and 1899. He was around Newlyn at the founding of The School of Art in 1899 by Stanhope Forbes and in consequence seeming much influenced by it. Measures: 28cm x 45cm. Frame measures: 43cm x 61cm.