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George Brooks Percy Lillingston (1871-1899) Watercolour on paper painting of a sailing boat entitled PH55 with other boats to distance. 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: 35cm high x 52cm wide. Frame measures 49cm x 67cm.

George Brooks Percy Lillingston (1871-1899) Watercolour on paper painting of a coastal scene with seagulls on sand with sea and cliffs to distance signed by 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: 29cm high x 49cm wide. Frame measures 44cm x 63cm.

George Brooks Percy Lillingston (1871-1899) Watercolour on paper painting of boats and fishermen with boats to distance. Unsigned. Unframed. 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: 25cm high x 35cm wide.

After Joseph Mallord William Turner (1775-1851) A 19th Century watercolour on paper painting depicting a Roman / Sardinian ruin or temple. The landmark prominent against sky blue background. Framed and glazed. Measures 61cms x 83cms

James Kinnear ( Scottish, Fl.1875-1917 ) A watercolour painting of Neidpath Castle in Peebles on the River Tweed, Scotland. Framed and glazed being signed by the artist to the corner. Measures 34cms x 51cms

A mid 20th century Oriental watercolour on silk painting of sparrows and bamboo, signed and with red seal mark, framed and glazed, 31 x 40cm, together with a painting on silk of sparrows on pink and white hibiscus, in red bamboo effect frame with beige figured silk mount, 29 x 39

A collection of framed pictures including an oil on canvas depicting a Mediterranean cobbled street, the main terrace house having flowers in the window. Frame measures approx 74cm x 87.5cm. The painting is signed to the bottom left of the canvas but is blocked by the frame. A late 19th Century watercolour depicting a Bridge over a river indistinctly signed. 21x14cm. A framed watercolour depicting a sailing boat scene, signed E G Williams to the bottom left. Frame measures approx 57cm x 47cm. A framed limited edition print entitled Le Clown Guitariste, alongside a framed print of the Death of Tecumseh. An abstract framed oil on canvas depicting a Mediterranean street scene. Frame measures approx 37cm x 29cm - NO RESERVE

An original framed watercolour painting depicting grazing cattle, signed S Prout Approx 61x83cm

A Scottish watercolour painting, titled Kilomain Castle, circa 1900.Approx 33x53cm, unsigned - NO RESERVE

John Knapp Fisher (1931-2015) British 20th Century, Alderburgh Beach, 1998, Print, hand signed bottom right, 71/850, mounted and framed. Measurements 17.5 x 24.8 cm (i), framed measurements 39.8 x 44.2 cm. John Knapp-Fisher (1931-2015) was a British post-war artist who is heavily associated with Pembrokeshire. He began his career in Graphic and exhibition design before becoming a full time artist in 1960. He is best known for his dark, dramatic watercolour paintings and his muted colour palette, often opting for earthy colours with simple dabs of primary as they emerge from the dark wash. Knapp-Fisher favoured subjects such as trees, bogs, hedgerows and the undergrowth over flowers, and was a fervent believer in painting en plein, often seeking his inspiration in his beloved Pembrokeshire. Although he did paint in oil, the majority of his work was created in his preferred medium of watercolour, and he is known for his characteristic letter-box shape paintings. He had a life-long love for the sea, building and sailing his own boats, even spending some years living upon one of his crafts, with seascapes and paintings of his daily catch becoming regular features within his artwork. Knapp-Fisher was elected to the Royal Cambrian Academy in 1992 and has a strong following particularly across the UK and South Africa.

Charles Frederick Tunnicliffe R.A. OBE (1901-1979), Porketts, signed, etching, 1927, edition size 75. Measurements 15 x 20cm (PL), framed measurements 38 x 41cm Note: Porketts appears in Meyrick R. & Heuser, H., 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, number 42, page 73 Charles Frederick Tunnicliffe R.A. OBE (1901-1979) was an internationally celebrated wildlife artist. He was born in Macclesfield and spent much of his early life working on his family's farm before attending the Macclesfield School of Art, winning a scholarship to the Royal College of Art in London shortly after. Following the completion of his studies he relocated to Anglesea in 1947 where he remained for the rest of his life. His used a variety of mediums in his work inlcuding watercolour, etching, engraving and oil. Tunnicliffe is recognised for his accurate and naturalistic portrayal of animals and birds and the lively way he represented his subjects engaging with their surrounding habitats. He was a regular exhibitor with the Royal Academy, but released very few of his works for gallery sale, believing his art was best suited to private homes. He was well known as a book illustrator, particularly his work for Ladybird books, and he had a long relationship with the Royal Society for the Protection of Birds for whom he illustrated many magazine covers and who awarded him a Gold Medal for his service in 1978. Tunnicliffe rejected the modern urban art scene of his time in favour of immersing himself within the natural world, insisting upon painting studies direct from nature.

Charles Frederick Tunnicliffe R.A. OBE (1901-1979), The Spotted Sow, signed, etching, dated 1928, framed. Measurements 17.5 x 25cm (PL), framed measurements 40 x 46.3cm Note: The Spotted Sow appears in Meyrick R. & Heuser, H., 2017, Charles Tunnicliffe Prints: A Catalogue Raisonne, Royal Academy of Arts, London, number 52, page 92 Charles Frederick Tunnicliffe R.A. OBE (1901-1979) was an internationally celebrated wildlife artist. He was born in Macclesfield and spent much of his early life working on his family's farm before attending the Macclesfield School of Art, winning a scholarship to the Royal College of Art in London shortly after. Following the completion of his studies he relocated to Anglesea in 1947 where he remained for the rest of his life. His used a variety of mediums in his work inlcuding watercolour, etching, engraving and oil. Tunnicliffe is recognised for his accurate and naturalistic portrayal of animals and birds and the lively way he represented his subjects engaging with their surrounding habitats. He was a regular exhibitor with the Royal Academy, but released very few of his works for gallery sale, believing his art was best suited to private homes. He was well known as a book illustrator, particularly his work for Ladybird books, and he had a long relationship with the Royal Society for the Protection of Birds for whom he illustrated many magazine covers and who awarded him a Gold Medal for his service in 1978. Tunnicliffe rejected the modern urban art scene of his time in favour of immersing himself within the natural world, insisting upon painting studies direct from nature.

Graham Sutherland (1903-1980) British 20th Century, Sea Wall ii, signed bottom left and dated '39, inscribed with title and dated 26 V 39, watercolour, pencil and crayon on paper. Measurements 39 x 29cm (SH). Note: This piece is likely to have been a preparatory study for Sutherland's final painting 'Gorse on a Sea Wall' 1939 which is now located in the Ulster Museum. Graham Sutherland (1903-1980) British 20th Century, was one of the most influential British artists of the 20th Century. Born in Steatham, London, Sutherland studied at the Goldsmiths School of art, specialising in engraving and etching and then spent many years teaching at the Chelsea School of Art. Printmaking, predominantly raomantic landscapes, dominated his work during the 1920s, drawing inspiration from artists such as Samuel Palmer. He later switched to oil painting during his 30s following the collapse of the printmaking industry during the Great Depression and it was his surrealist abstract landscape compositions that secured his reputation as an international modern artist. Together with his close friend Francis Bacon, Sutherland was one of the main figureheads for surrealist painting in Britain. His landscapes covey haunted atmospheres that attempted to express the concept of brutality present within nature.

John Knapp-Fisher (1931-2015) British 20th Century, 'The Lake, Battersea', 1999, studio printed signature bottom right, 33/850, mounted and framed. Measurements 30.5 x 31.7 cm (i), framed measurements 55 x 63 cm. Certificate of authenticity present. John Knapp-Fisher (1931-2015) was a British post-war artist who is heavily associated with Pembrokeshire. He began his career in Graphic and exhibition design before becoming a full time artist in 1960. He is best known for his dark, dramatic watercolour paintings and his muted colour palette, often opting for earthy colours with simple dabs of primary as they emerge from the dark wash. Knapp-Fisher favoured subjects such as trees, bogs, hedgerows and the undergrowth over flowers, and was a fervent believer in painting en plein, often seeking his inspiration in his beloved Pembrokeshire. Although he did paint in oil, the majority of his work was created in his preferred medium of watercolour, and he is known for his characteristic letter-box shape paintings. He had a life-long love for the sea, building and sailing his own boats, even spending some years living upon one of his crafts, with seascapes and paintings of his daily catch becoming regular features within his artwork. Knapp-Fisher was elected to the Royal Cambrian Academy in 1992 and has a strong following particularly across the UK and South Africa.

A selection of books for budding artists: ten books on watercolour and oil painting techniques, graphic design

Barrie Cooke HRHA (1931-2014)Nude with Night PaintingOil on canvas, 122 x 122cm (48 x 48)Exhibited: Touring Exhibition, 'Six Artists from Ireland', Catalogue No.26; Hendriks Gallery, solo exhibition, Dublin 1978, where purchased; Clifden Arts Week.Barrie Cooke always painted the women ‘I have shared my life with’, adding that ‘I’ve always painted the people I’ve been sexually involved with.’ In this powerful, intimate painting the woman is not named but her relaxed pose suggests an extraordinarily private relationship between artist and subject, between man and woman, between him and her.If being naked suggests being vulnerable and being belittled, being what Shakespeare calls ‘the thing itself . . . . a poor, bare forked animal’, nude suggests a dignified elegance, a beauty, a confidence, a feeling in this instance, especially, of being at ease with oneself.A nude is also a portrait but Cooke has said that to think about the character before you is a disaster: ‘You have a fact in front of you which is like a mountain, a series of hills. Ideally you forget that you’re looking at the person and you empathise not with the personality but with the shapes.’ This female, Rubensesque, relaxed nude, diagonally positioned, dominates the canvas. It is night time, the black background with streaks of light, a painting within a painting, captures that mood but the figure itself is rendered with a luminous touch. Behind her head, a detail catches the light and light is found all through the foreground especially in patches of unpainted canvas. The artist’s every gesture is physical in this oil on canvas; it has the fluidity of watercolour. Barrie Cooke ‘never liked acrylic, partly because it’s terribly difficult to get off once it’s dry, and you can dissolve oil paint.’ Here, Cooke, who said ‘I work on most of my paintings a long time’, dissolves the oil paint resulting in a work that seems spontaneous, a figurative composition that contains abstract, expressionist elements. This nude is in harmony with Cooke’s idea that ‘all good art is abstract and all good abstract art is figurative.’As for spontaneity, a hallmark in his work, ‘That’s the problem’ says Cooke. ‘To keep them at a point where you can surprise yourself all the way along.’ And that watercolour look ‘That’s because it’s thin over white. I’m quite conscious of that. Rubens did it. I like his luminosity.’ For Cooke, Rubens is a great painter. ‘He’s not the fat bottoms and slobbery that most people think of.’Kenneth Clark, in his major 1956 study The Nude, argues that ‘the nude does not simply represent the body’, but is related to ‘all structures that have become part of our imaginative experience’. Clark explores how for Greek sculptors the nude related to their geometry’ and in the twentieth century ‘man, with his vastly extended experience of physical life, and his more elaborate patterns of mathematical symbols, must have at the back of his mind analogies of far greater complexity’. Today’s viewer brings those complexities to Big Nude at Night and by doing so the painting’s depth is revealed, the viewer’s experience is enhanced.This major work, from the prestigious Pat and Antoinette Murphy Collection, proves that Barrie Cooke is a celebrator and a Romantic. ‘When I’ve painted nudes it’s in celebration of their bodies and their personalities’ and Cooke when he says ‘I’m Romantic in the real sense, an empathist’ that Romanticism and empathy can be seen here in a painting that gathers together what the Italian philosopher, Mario Rossi, identifies as the three great interests of man: ‘air and light, the joy of having a body, the voluptuousness of looking’. Niall MacMonagle 2019

Mary Swanzy HRHA (1882-1978)The Three Ages of Woman (c.1970)Oil on canvas, 75 x 62cm (29½ x 24¼)Exhibited: Taylor Galleries, Dublin, solo exhibition, 1986, from where purchased.This was the last painting on the artist's easel before her death.Mary Swanzy’s facility for drawing with her brush and extensive understanding of colour sings of the three ages of woman in this work; it is likely to refer to her own life given she was in her late eighties when it was completed. Titled by the current owner with Miss Swanzy’s knowledge, as she disliked naming her work preferring to see what others would make of the paintings.The central Pierrot figure, a clown or everyman character whose main characteristic is of naïveté is dressed in white, a reference to death perhaps in this case as Swanzy contemplates her own end of life. It echoes a number of earlier works that feature Chinese or Japanese figures. Swanzy revered Chinese painting and her interest in world religions is in evidence from as early as the 1920s. As she became more limited in her ability to travel so her immediate surroundings feature more heavily in her later paintings. The shed was in the garden of the Blackheath home and the little green cat, a porcelain figure from her collection. Her use of the fox may be a reference to her regular use of the term “as cute as a fox” to describe characters in her knowledge. She remained astute and observant all through her life. The use of animal imagery is a common feature in her paintings from the 1940s; she uses them to build metaphors in the narrative. Her father is recorded as having used animal metaphors in his speech so perhaps a lifelong habit of indirect speech continued in Swanzy’s painting.The lively handling of the paint and directional strokes of pure pigment has a freshness and immediacy akin to watercolour in the hands of a master. Swanzy died in 1978 in her nineties painting right up to her death despite arthritis requiring her to tape her brushes to her fingers. Liz Cullinane, September 2019

Mainie Jellett (1897-1944)Abstract Composition with Three Elements (1925)Oil on canvas, 93 x 73cm (36¾ x 28¾)Signed and dated (19)'25Provenance: Stanley Mosse Collection; With The Dawson Gallery, Dublin.Exhibited: Dublin, IMMA, 'Mainie Jellett, December 1991 / March 1992, Catalogue No.77; Dublin, IMMA, 'Analysing Cubism', 2013, Crawford Art Gallery, Cork and F.E. McWilliam Gallery & Studion, Banbridge.Literature: Albert Gleize's book on Cubism, illustrated; 'Analysing Cubism', IMMA 2013, Dublin, Cork and Banbridge, illustrated p.55 & 116.Mainie Jellett is a towering figure in the history of Irish art. She is acknowledged as the first native artist to exhibit pure abstraction in Ireland and for two decades, from 1923 to her premature death in January 1944, she was as Bruce Arnold has written, ‘the acknowledged leader of the modern art movement in Ireland’ (1). Patrick Murphy’s interest in Jellett began in 1964 when he bought a small watercolour landscape from an auction at Adams. Although the work was signed and dated 1921, it had been catalogued simply as ‘Irish watercolour’ and so Murphy, who was the only bidder, got a bargain! (2)Born in Dublin into a prominent Protestant family of Huguenot descent, Jellett took art lessons with Sarah Cecilia Harrison and May Manning before enrolling at Dublin Metropolitan School of Art in 1914 where she was taught by William Orpen. She later studied under Walter Sickert at Westminster Art School in London and it was there that Jellett met fellow Dubliner, Evie Hone, who was to become her life-long friend and collaborator. In 1920 Jellett was awarded the Taylor Scholarship which enabled her to travel to Paris, then the centre of the art world. Hone was already in Paris and working in the studio of the Cubist André Lhote. Jellett joined her and together they learnt from Lhote how to abstract from nature while always maintaining an element of representation. After a period with Lhote, Hone and Jellett decided that they wanted to move further towards truly non-representational art. They approached the Cubist Albert Gleizes and asked if they could study with him. Gleizes did not take pupils but Jellett and Hone convinced him to make an exception. Thus began a long and fruitful collaboration between Gleizes, Jellett and Hone through which they explored both abstraction and the expression of spirituality through art. Despite the political and social turbulence that was engulfing Ireland during this period, Jellett decided to return to Dublin and introduce Irish audiences to abstraction. In pursing this goal, Jellett became both the greatest advocate of modernism in Ireland, and the prime target for those forces that rallied against it.In the autumn of 1923, Irish audiences were exposed to abstraction for the first time when Jellett exhibited a small abstract composition titled Decoration in the Society of Dublin Painters exhibition. The critical response to Decoration in 1923 reveals the hostility towards modernism in Ireland. While the Irish Times compared the painting to a malformed onion (3), utilising language reminiscent of continental attacks on modernism, the artist George Russell, described Jellett as ‘a late victim to Cubism in some sub-section of this artistic malaria’ (4).Despite Russell’s criticism, Jellett continued to paint and exhibit abstract works, including Composition with Three Elements. This accomplished work demonstrates, in both scale and ambition, the confidence that Jellett had in her ability to produce fully resolved abstract compositions. Bruce Arnold illustrates this work in his monograph on Jellett under the title Abstract Composition and notes that Albert Gleizes also illustrated it in his book Kubismus in 1928 ‘to demonstrate the third Stage of Cubism (Epic Cubism)’ (5). The palette of grey, green, blue, ochre, brown and pink is distinctly Art Deco, the design movement also known as Art Moderne, which was fashionable in France and throughout Western Europe during the 1920s and 1930s. Composition with Three Elements, represents the zenith of Jellett’s experiments with pure abstraction. By 1928, she had begun to reintroduce figuration into her cubist work and in paintings such as Homage to Fra Angelico (1928) explicit references to both art history and Christian iconography are present. This return to representation aided the reception of Jellett’s art by the Irish public but also signalled the end of her avant-garde pursuit of pure abstraction. Dr Riann Coulter (1) Bruce Arnold, Mainie Jellett and the Modern Movement in Ireland, New Haven & London, 1991, p. vii.(2) Patrick Murphy, A Passion for Collecting: A Memoir by Patrick J Murphy, Dublin, 2012, 32-33.(3) ‘Two Freak Pictures: Art and Nature’, Irish Times, 23 October 1923. (4) George Russell, Irish Statesman, 27 October 1923. (5) Arnold, p. 90.

MARIANO FORTUNY Y CARBÓ (1838-1874) THE WARRIOR signed l.r. M Fortuny watercolour 26.0 x 21.0cm / 10 1/4 x 8 1/4in Mariano Fortuny is one of the most renowned Spanish painters of the 19th Century. He specialised in genre and historical painting, as well as subjects with Orientalist themes such as the present work. He began his studies in Barcelona, winning a scholarship to travel to Rome to study at the Academi Gigi. Immediately upon his return to Spain, the Barcelona Government commissioned him to travel to North Africa to record the Spanish-Moroccan war at the time. It was here that his interest in Orientalist themes began, with some of his best known paintings being scenes both real and imagined in Morocco. In his travels to France in later years he closely observed his counterparts Delacroix and Fromentin, developing his style to accommodate the popular taste of Second Empire France. He was to emulate and equal their success. In his day he commanded as much international attention as his compatriot Sorolla, especially in France, where his works were highly sought-after. At the peak of his career, he could boast of commanding higher prices than of any of his contemporaries in Spain. Fortuny was an innovative painter, anticipating the looser brushwork of future generations, which he employed in both his oil paintings and his watercolours. He was particularly adept at capturing the effects of light while working in watercolour, as is demonstrated here in this highly atmospheric scene. This warrior figure seen from behind can be compared to the Arab Chief (1874, Philadelphia Museum of Art, Cat. 992); and to A Moroccan (1869, Prado Museum, Inventory Number D007414). It may date to the same period in Fortuny's ouevre as the latter, as he produced a number of watercolours of Arab subjects in his studio in Rome at this time. The Prado Museum in Madrid houses more works by Fortuny than any other artist in the collection, and recently held its first retrospective and published a monograph on the artist in 2017-2018.  For additional works by Fortuny that are comparable to the present work see the following examples:* Fogg Art Museum - Harvard - Object No. 1943.291* Arcade Old Masters & 19th Century European Art - Sotheby's, New York - 29.01.2005, Lot 247* National Gallery of Art - Washington - Object No. 2013.176.1* Tableaux Mobilier & Objets d'Art - Pierre-Bergé & Associés, Paris - Lot 155 

WILLIAM BARNES WOLLEN, R.I., R.O.I., R.B.C. (1857-1936) THE INVESTITURE OF THE STAR OF INDIA BY GEORGE V AT THE DELHI DURBAR OF 1911 signed l.r. titled on mount watercolour 18.0 x 13.0cm / 7 x 5in The present work depicts the events of December 14th, 1911. King George V was on his visit to India, and as part of the pageantry that lasted for several months, he invested a number of Indian Royalty, officials and British figures of authority with the three classes of the Order of the Star of India. The date of the present work can be confirmed by the blue fabric hanging from the ceiling of the tent, which is recorded somewhat distastefully by the Royal Librarian and Archivist, Sir John Foretescue (1). The kneeling figure seen in this depiction wears the mantle of the order, worn only by Knights Grand Commanders, which means that he is one of the following Royals: * Colonel His Highness Maharaja Raj Rajeshwar Siromani Sri Sir Gunga Singh Bahadur, G.C.I.E., K.C.S.I., A.D.C., Maharaja of Bikaner * Major His Highness Maharao Sir Umed Singh Bahadur, G.C.I.E., K.C.S.I., Maharao of Kotah * His Highness Farzand-i-Dilband Raish-ul-Itikad Daulat-i-Inglisbia Raja-i-Rajagan Raja Sir Jagatjit Singh Bahadur Ahluwalia, of Kapurthala. * His Highness Asafjah Muzaffer-ul-Mulk-Maamalik Nizam-ul-Mulk Nizam-ud-Daula Nawab Mir * Usman Ali Khan Bahadur Fateh Jang, the 7th Nizam of Hyderabad * His Highness Aga Sir Sultan Muhammad Shah Aga Khan, G.C.I.E., of Bombay (2) A larger, more detailed painting of the same event by George Jacomb-Hood, M.V.O. is in the Royal Collection (RCIN 407144). Bibliography: (1) The Hon. Sir John Fortescue, K.C.V.O., FRHistS - 1911 - Narrative Of The Visit To India Of Their Majesties King George V. And Queen Mary And Of The Coronation Durbar Held At Delhi,December 1911 - London, 1912 - p.178 (2) The London Gazette - 8 December 1911, pp.9355-9366

JEAN-ANTOINE-SIMÉON FORT (1793-1861) AN EXTENSIVE NORTH EUROPEAN LANDSCAPE VIEW WITH MEDIEVAL RUINS signed & dated l.r. Siméon Fort 1825 watercolour on Whatman paper (watermarked) 19.7 x 27.2cm / 7 3/4 x 10 3/4in Jean-Antoine-Siméon Fort studied under Christian Brune, the Professor of Topography & Landscape Painting at the École Royale Polytechnique. Fort was tasked by the French Court to illustrate the principal events of the Revolution and of the French Empire for Versailles, and travelled around Germany, Spain and Belgium for a decade in order to execute the commission. As part of his travels he depicted a meeting between the Empress Victoria and the Queens of Belgium and Spain in 1843 at the Château d'Eu (Royal Collection Trust, RCIN 920015). He was awarded the Legion d'Honeur in 1842, and exhibited at the Salon from 1824-1847. For another work by the artist dated 1825, see Schmidt Kunstauktionen, Dresden, 12.12.2015, Lot 172.

ENGLISH SCHOOL (LATE 19th CENTURY) THE ROLL CALL (WITH APOLOGIES TO MRS BUTLER) signed l.r. THOS. titled & inscribed extensively below image watercolour 36.0 x 54.0cm / 14 x 21 1/4in The Roll Call was a widely seen and discussed painting of 1874 by Lady Butler, which depicted the Grenadier Guards after a battle in the Crimean War (thought to be the Battle of Inkerman). It was also caricatured by Tom Merry (William Meecham) for St Stephen's Review, 13th February 1886.

Michel-Francois Preaulx (French, 1796-1827) The Mausoleum of Oljeitu, or Muhammad Khodabandeh, the eighth Ilkhanid ruler of Persia (reg. 1304-16)pen and ink and watercolour on paper laid down on canvas, signed MFP lower right painting 225 x 360 mm.; canvas 295 x 426 mm.

*Glyn Morgan (1926-2015) STILL LIFE OF SEASHELLS Signed and dated '88 l.r., watercolour 10 x 29cm, together with the actual seashells illustrated When Morris came to judge a show at Pontypridd, the 17-year-old Morgan entered two pictures. Morris thought his work promising and invited him to his school in Suffolk. In the summer of 1944, the year he left Cardiff College of Art, Morgan booked a week at Benton End, formerly known as The East Anglian School of Drawing and Painting. Morgan was a frequent visitor to Benton End over the following years and Morris provided Morgan with artistic inspiration for the rest of his life. He had numerous solo exhibitions, including seven retrospectives, one at the National Library of Wales, Aberystwyth. *Artist's Resale Right may apply to this lot.

Hugo Bogado Barrios, watercolour, three Ecuadorian figures playing guitars, signed, 9ins square, together with a pencil drawing, figure reclining on a tree, indistinctly signedIt is hard to tell if there are any stains because of the style of painting but it appears to be in good condition

Small 20th Century oil painting on board, figures in a landscape, gilt and green velvet frame, a mid Century watercolour, fashion design, and a quantity of other miscellaneous prints

Alfred Augustus Glendening Junior, watercolour, a lady standing in a doorway, signed with monogram and dated 1896, 39.5ins x 19.5ins, gilt framedNo further information regarding provenance Unfortunately the painting is somewhat faded, it could do with a little bit of a clean up. Frame in ok condition

A quantity of prints to include Clovelly, oil painting of a tall sailing ship and a watercolour of the bridge at Monmouth etc.

An Oil painting of farms, signed, 14" x 11" approx. and crayon and watercolour Drawing of ruined castle, signed bottom left, 14 1/2" x 10 3/4" on card (x2).

Large Gilt Framed Asian watercolour of Silk of a procession 135 x 80cm and a similar smaller gilt framed painting

A Large original Watercolour painting by Robert Stirling, Depicting Crail harbour. 90 cm x 80 cm

Maung Htun Hla (1874-1946)Original watercolour painting."The Royal Lakes with crow Island, Showing Schwedagon Pagoda in background. Painting measures 14x19cm

JOHN KNAPP-FISHER watercolour - landscape with body of water, entitled verso 'Rose Bush Reservoir', signed and dated 1974, 13.5 x 25.5cms Provenance: won at church raffle in 1976, raffle ticket and letter to accompany painting.

Sam Barnes Robson (York 1900-1973): 'The Miller - Stamford Bridge Mill', watercolour signed and titled, further signed, titled and inscribed with artist's address verso on gallery label 38cm x 27cmNotes: this painting is a copy of an earlier painting by George Harrison (York 1882-1936), lot 337 in this sale; Barnes Robson was a friend and probably student of Harrison's Condition Report & Further Details Click here for further images, condition, auction times & delivery costs

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

Harold Sayer R.E. R.W.A. (1913-1993) - 'Frampton Water Meadow' A 20th Century watercolour on paper painting depicting a landscape scene depicting a meadow with a village to the background with a church standing above trees. Signed, framed and glazed. 58cms x 74cm.

J T Culpan - watercolour painting on paper depicting fisherman unloading a moored boat water side, with flying gulls and cottages to the background. Signed to lower right corner. Framed and glazed. 

Rosie Brooks - Watercolour and pen, 19cm x 14cm. Framed and glazed.Rosie Brooks is a leading international illustrator based in London, with over a decade of experience creating illustrations for books, magazines, greetings cards, creative campaigns in print, broadcasting and digital media and a number of unusual projects from painting a lifesize statue of a baby elephant to decorating a Les Paul electric guitar for Sir Paul McCartney.Provenance: Acquired by Dorothy Claxton on 21st August 2013 after contact through Twitter.

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

Tom Dodson 1910 - 1991 Artist Drawn and Signed Watercolour / Chalk Highlights - Titled ' The Old Fiddler ' Signed and Titled by The Artist In Pencil. Mounted and Framed Behind Glass. Size of Painting Only - 8.5 x 4.5 Inches - 21.25 x 12.25 cm.

Watercolour of Donkey in Stable Signed TH 1881. Lovely painting of a donkey with a small dog, signature TH and dated 1881 to right hand corner. Picture is mounted and framed behind glass, and measures 73 x 56 cm. Some slight damage to frame. Please confirm with photographs.

An early/mid-20th century watercolour on paper study depicting a female subject dressed in elaborate robes seated on a bamboo-framed open armchair and holding a fan in her left hand, a recumbent cat looks on before her, parcel-gilt-framed and later glazed (painting size 48cm x 23cm) 

T. L. Rowbotham 1823 - 1875 Titled ' Lake Lugano, Italy ' Watercolour. Signed and Dated In 1865. -Provenance- Gallery Label, Boydell Galleries to Reverse. Mounted and Framed Behind Glass. Painting Size Only 10 x 15.5 Inches - 25 cm x 38.5 cm.

Shirley Carroll: a framed watercolour, entitled "September Fruits" - signed and bearing label verso - sold with a modern silk painting, depicting a spiders web and butterfly and two other original works

Antique watercolour painting on paper Country Scene Maple Durham on the Thames signed W M McKewan 1880 70 x 45 cm

An antique Chinese watercolour on silk of a bird, probably 19th century, the white feathered bird perched upon a peony branch, signed with four red seal marks and inscribed with black calligraphy, lined black border, 25½ x 16 3/8in. (64.75 x 41.5cm.), in a modern giltwood frame with bevelled mount. *Condition: Colours bright. Some sooty dirty marks and small scuffs visible to silk and it has been rolled at some time - it is a little cockled and there are some small vertical crease marks and some light horizontal crease marks to the centre areas from that rolling. A line of spot spill marks visible at a diagonal across the upper third of the painting - there are signs that an attempt has been made to restore these at some time, leaving feint, slightly darker-than-background marks around the spot marks. Two small patches of damage to the surface of the silk at lower centre right margin and a few dirty marks to silk at lower right corner.

attributed to Alexandre Benois (Russian, 1870-1960), Italian Comedy, "Indiscreet Puninchello" gouache and watercolour, signed lower left and dated 1906, ornate black and gold frame 7½ x 11¾in. (19 x 29.8cm.)* Notes: Aleksander Nikolaevich Benois was born in St Petersburg in 1870 and was a Russian artist and writer and founding member of the art movement Mir Iskusstva. Along with his friend Leon Bakst, he was one of the principal artistic counsellors of the Ballets Russes under the direction of Diaghilev. He introduced painting into the scenery giving it equal importance to the music and the choreography.** Condition: Good condition with no faults noted.  

COLLECTION OF FIVE CHINESE PAINTINGS 20TH CENTURY two small watercolour paintings on silk depicitng bees with hibiscus and butterflies with grapes, each with a red seal and of 28cm x 35cm; two ink and watercolour paintings on paper each depicting peony blossoms, each with an artist's signature and red seal mark, 23cm x 135cm and 32cm x 132cm; an ink painting on paper depicting a landscape scene with a four-line poem written on the top right corner, painted by Zhang Dajia, 32.5cm x 74cm (5) . (Dimensions: largest 163cm high) (Qty: 5)(largest 163cm high)

INK AND WATERCOLOUR 'CRANES' SCROLL PAINTING CIRCA 1940 ink and colour on paper, depicting a group on cranes in a pond, signed 'Shang Yin Yu Guang', attributed to Chinese artist Zhang Yu Guang (1885-1968) (Dimensions: 165cm x 47cm) (Qty: 1)(165cm x 47cm)

TWO CHINESE WATERCOLOUR PAINTINGS 20TH CENTURY one painting depicting a monkey swinging amongst bamboo; the other painting depicting two monkey climbing amongst bomboo, with one monkey reaching out its right arm intending to grab a bee in flight (2) (Dimensions: 66cm high (including frame)) (Qty: 2)(66cm high (including frame))Footnote: Provenance: Private Collection from A Gentleman

A mid 20th century Oriental watercolour on silk painting of sparrows and bamboo, signed and with red seal mark, framed and glazed, 31 x 40cm, together with a painting on silk of sparrows on pink and white hibiscus, in red bamboo effect frame with beige figured silk mount, 29 x 39

Graham Illingworth (b.1953) ''A Dream to Some'', ''A Nightmare to Others'' Each signed and inscribed, watercolour, 52cm by 43.5cm (2) Provenance: Andrew Mount Fine Art, Knutsford A famously private man, Illingworth was born in Brighouse, West Yorkshire and after a short period of working in publishing, moved into painting. His illustrative paintings capture an essence of orientalism and the Far East. Yet, his works demonstrate more than just cultural referencing, because his illustrative styling explores the line and the sensitivity incorporated in image making. His own private and somewhat reclusive lifestyle reveals itself in the gentle and fine qualities of his works; from publisher to artist Illingworth preferred to place himself behind the object. All this makes for a strangely hypnotic and fresh viewing experience. Illingworth works have been exhibited at the Halcyon Gallery and continue to remain popular. Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Oil painting of dogs by Rowlandson & Thorley watercolour: Oil painting on canvas of hunting dogs by J D (?) Rowlandson 37cm x 52cm & John Thorley watercolour signed and dated 1904 Norway, 34cm x 48cm.

Original watercolour over ink painting of long eared owl 1923 signed possibly R.Weekly in gilt frame label verso together with Watercolour signed CMR of Landscape and Lake scene

EDWARD BIRD, RA (1772-1819) STUDY FOR `THE RAFFLE FOR THE WATCH` Watercolour, lightly squared for transfer in pencil 29.5 x 40cm. * A study for the oil painting on panel (44.5 x 61cm), the gift of Robert Vernon to the Tate (now Tate Britain), 1847. S. C. Hall, writing in 1853 about Vernon's donations to the gallery, commented that "when [Sir David] Wilkie saw [the oil painting], he remarked how proud he should have felt had he painted it; certainly the Scottish artist never produced a more characteristic group than that engaged, in the kitchen of the village ale house, in disposing of the watch which the landlord displays to the assembled company, each one of whom is a natural study. The picture is painted with extraordinary depth and finish, and might not unworthily be placed by the side of a Tenier or an Ostade." The finished oil was also engraved by George Greatbach in 1852. ++ Some fading; needs a light clean

WILLIAM PAGE ATKINSON WELLS (1872-1923) A FARM, POSSIBLY ON THE ISLE OF MAN Oil on canvas laid on board 56.5 x 70cm. ++ Some craquelure; good impasto Lots 2160 to 2167 are by William Page Atkinson Wells and have been consigned for sale by a descendant of the artist. The artist's father, Andrew Wells, was an interior decorator and housepainter whose commissions included decorating work for the Duke of Northumberland. He married Margaret (nee Atkinson) in 1870 and she bore him two sons. William, the elder, was born in Glasgow in July 1871 and the family moved to Australia in 1885 in search of steadier employment. Young William became a member of the New South Wales Arts Society in Sydney and he impressed his parents sufficiently for them to send their adolescent boy back to London to study at the Slade (Alphonse Legros was one of his teachers) and at the Atelier Julien in Paris. Wells then settled in Glasgow but, despite being in a culturally energetic city, it took some effort to bring his work took to the public's attention and he was a theatrical scene painter for seven years. He married his first cousin, Helen Gordon Reid (1879-1961) in 1897 and they began a restless and peripatetic marriage, moving to three addresses in Lancashire before a ruinous flood destroyed much of Wells's work. He then moved with his wife and two sons to the Isle of Man and lived in Port Erin, Port St Mary and Colby before relocating once again to Devon. Homes were found in Teignmouth and Shaldon, then Topsham before the family settled at last in Appledore in 1922. An ungregarious painter, Wells prospered nonetheless and travelled a lot, owning many tenanted properties and managing to educate his sons well. He was a heavily built chainsmoker and died of pneumonia in May 1923 but rudimentary health facilities in Appledore might have also contributed to his early demise at the age of just 51. James Lewis Caw, writing in `Scottish Painters, Past and Present 1620-1908`, praised Wells for his `skilfully painted landscapes, marked by much quiet sentiment and fine feeling`. He favoured plein air painting but the curiously impacted surface effects he achieved were sometimes the result of his using a challenging blend of ink, charcoal, soot, watercolour and pumice stone in his oils.

19TH CENTURY CHINESE WATERCOLOUR PAINTING, TWO SHOES FOR BOUND FEET, signed in red, 29.5cm x 29.5cm, mounted framed and under glass

NEAPOLITAN SCHOOL, 19th century Classical figures and a wall beyond, watercolour, 11" x 24", and the companion painting (2)

2 volumes of James Orrock RI - Painter, Connoisseur and Collector by Byron Webber (limited edition 413/500) & a small unframed watercolour (possibly part of a larger painting) by Orrock