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I.E. Mackintosh Gow (19th century) Loch scene, watercolour; with C.Goddard (19th century) Mountain scene, signed, watercolour; and English School (19th century) a primitive painting of a white house, oil on board (3)

Continental style tiled mirror, print titled "Gold Fish" after Semenowsky, modern print of cottage together with various other original artworks to include watercolour painting of Trentham Gardens, "Newlyn Harbour" by Sumner and various others. Condition reports are not available for this sale.

The Destruction of Jerusalem, colour lithograph heightened with watercolour, Louis Haghe after David Roberts, mounted on board bearing blind-stamp for 'Hering & Remington, Regent Street', the board signed in pencil l.l., 'David Roberts R.A.', signed in pencil l.r., 'L. Haghe'. Together with a separately published key to the picture, bold black & white outline of the scene with numerical system indicating exactly what is being depicted (from landmarks to individual figures). The key advertises the finished print as being 'Printed in Colours by Day & Son, Lithographers to the Queen', and, at lower margin, 'Published by Hering & Remington, 137 Regent Street, London' (matching the board of finished lithograph). The original painting by David Roberts was sold at Christie's in 1961 and has never been traced, hence the importance of the lithograph and corresponding key. The lithograph is trimmed to image (no publisher details), but the Hering & Remington mount, and signatures in pencil, suggests that this is how it was issued. The lithograph measures 69cm by 106cm (image only), 78cm by 116cm (including mount). The key measures 50cm by 68cm. The lithograph has several nicks and scratches; the mount has several tears with loss to corners; the whole is in need of cleaning; dampstaining to mount. The key has fold-lines running horizontally and vertically, some foxing. Each picture is framed, the lithograph is not glazed (2)

Gerald Rickards (British 20th Century 1931-2006), Pavillion Building Mesnes Park Wigan, oil on canvas, 71cm x 92cm, canvas re-used, abstract scene verso, unsigned, unframed. Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising in depicting buildings in his own distinctive style, from small private houses to large country houses. Meticulous attention to details was an important feature in all his work. Paintings ranged from semi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouache compositions, murals and stained-glass design. Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland Grammar School) where he was Head of Art for 26 years. He was the first Artist in Residence at Drumcroon Education Art Centre. Following early retirement, he devoted all his time to painting from 1985 until his death in 2006. He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduate fellowship at Edinburgh College of Art where he was the prize winner for the most distinguished work of college year. A travelling scholarship to study mural painting in Europe followed in addition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer in London. Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of large buildings and some religious motifs. The latter part of the 1970?s featured subjects which were easier to recognise including mythological creatures and birds depicted in a decorative two- dimensional manner with lots of detail in linear backgrounds. Later works featured parts of buildings, with special attention given to detail, and the relationship between façade and background. The traditional approach to perspective was avoided and subjects were often repeated with variations of colour and arrangement. He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London, Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches, cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc. Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor to ceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters, Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner in the last two). Also, a ten-section painting for Newnham College at Cambridge, a collection featuring all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall. He submitted the winning design for the 25-foot square Preston Guild window, designed and painted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a 3-setion stained glass project for Christ Church, Aughton. His work was purchased by several educational establishments, local authorities, British Waterways, National Trust, Newnham College, Blackpool Gazette, English Schools Athletics Association and for private collections in many European countries, America and Australasia. Prints were produced from several of the ongoing series, featuring national and local subjects, plus a triptych commemorating the last rugby match at Central Park. Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Ellesmere Memorial Walkden", oil on board, 56cm x 74cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "St Lukes Church Orrell", oil on board, 56cm x 74cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), abstract figures, oil on canvas, 70cm x 122cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), abstract cockerel, oil on canvas, 91cm x 71cm, signed verso, canvas re-used, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), steam traction engine, oil on board, 53cm x 39cm, signed verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), architectural scene, oil on canvas, 36cm x 56cm, unsigned, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Warrior with Lance & Shield", oil on canvas, 50cm x 71cm, signed, titled and dated 1969 verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), pair, abstract crucifixes, oil on board, 37cm x 68cm each, signed verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Three Kings", oil on board, 51cm x 64cm, signed and titled verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), "Grey Crucifixion", oil on canvas, 51cm x 87cm, signed, titled and dated 1969 verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Gerald Rickards (British 20th Century 1931-2006), untitled, oil on canvas, 50cm x 76cm, signed verso, unframed.Gerald Rickards was one of Wigan?s most distinctive and best-loved artists, specialising indepicting buildings in his own distinctive style, from small private houses to large country houses.Meticulous attention to details was an important feature in all his work. Paintings ranged fromsemi-abstract oils, small watercolour studies, reinforced with line, to larger watercolour/gouachecompositions, murals and stained-glass design.Born in Aspull, he lived in Billinge near Winstanley College (previously Up Holland GrammarSchool) where he was Head of Art for 26 years. He was the first Artist in Residence at DrumcroonEducation Art Centre. Following early retirement, he devoted all his time to painting from 1985until his death in 2006.He was a student at Wigan School of Art and Liverpool College of Art followed by a post graduatefellowship at Edinburgh College of Art where he was the prize winner for the most distinguishedwork of college year. A travelling scholarship to study mural painting in Europe followed inaddition to work on the Diaghilev Exhibition for Edinburgh Festival and the Sunday Observer inLondon.Early work (1960-1975) featured semi-abstract oils, linear patterns adapted from plans of largebuildings and some religious motifs. The latter part of the 1970?s featured subjects which wereeasier to recognise including mythological creatures and birds depicted in a decorative two-dimensional manner with lots of detail in linear backgrounds. Later works featured parts ofbuildings, with special attention given to detail, and the relationship between façade andbackground. The traditional approach to perspective was avoided and subjects were oftenrepeated with variations of colour and arrangement.He held over two dozen exhibitions at galleries in the North West, Midlands, Cambridge, London,Salisbury & Norwich Cathedrals. All had a particular theme ? National Trust properties, churches,cathedrals, waterside buildings, Oxbridge colleges, Thomas Hardy etc.Large scale works include the 37-foot Charter Mural in the History Shop, Wigan and a floor toceiling panel at Holgate School, Orrell. Other murals included Scottish Scout Headquarters,Manchester Airport, Nantwich Post Office and Warwickshire College (open competition winner inthe last two). Also, a ten-section painting for Newnham College at Cambridge, a collectionfeaturing all the buildings in the Close at Salisbury and seven section painting of Rufford Old Hall.He submitted the winning design for the 25-foot square Preston Guild window, designed andpainted the 15-foot high Queen?s Hall window in central Wigan, a window at Ince St Mary?s and a3-setion stained glass project for Christ Church, Aughton.His work was purchased by several educational establishments, local authorities, BritishWaterways, National Trust, Newnham College, Blackpool Gazette, English Schools AthleticsAssociation and for private collections in many European countries, America and Australasia.Prints were produced from several of the ongoing series, featuring national and local subjects, plusa triptych commemorating the last rugby match at Central Park.Provenance - sold on behalf of the Rickards estate.

Painting by Emmanuel Levy. Iconic nude study in watercolour and wash by the Manchester artist who was trained alongside his good friend L S Lowry by Adolph Valette. He held his first exhibition in 1924 at Manchester City Art Gallery and a major retrospective exhibition in 1948 at Salford Art Gallery. His work is in many public collections including the National Portrait Gallery in London. Image size 20" x 13". Beautifully framed and glazed. Overall size 21" x 18". Signed and dated. Please see photograph.

Lilya Zuzina original watercolour painting of a young woman. 15cm x 20cm. Picture size 8.5cm x 5.5cm

Xuetao Wang (Chinese, 1903-1982), a scroll painting of birds in a blossoming tree, watercolour, signed and stamped, 123 x 59cm

A rare piece of believed 1970's Brooke Bond tea card unused artwork, appearing to be based on 'The History of the Motor Car' series of collector cards. Airbrush, watercolour and mixed media painting. This piece depicting a 1967 Brabham, in green with No.4 Decals. Framed and glazed to a total size of 32cm x 42cm.Provenance: From the offices of the last Managing Director of Vandervell's in Maidenhead before the company's closure in 1997. GKN bought the company following the death of its founder, Tony Vandervell, in 1965. Consigned from the family.

A rare piece of believed 1970's Brooke Bond tea card unused artwork, appearing to be based on 'The History of the Motor Car' series of collectors cards. Airbrush, watercolour and mixed media painting. This piece depicting a 1972 Lotus John Player special, in black with No 1 decals. Framed and glazed to a total size of 32cm x 42cm. Provenance: From the offices of the last Managing Director of Vandervell's in Maidenhead before the company's closure in 1997. GKN bought the company following the death of its founder, Tony Vandervell, in 1965. Consigned from the family.

A rare piece of believed 1970's Brook bond tea card unused artwork, appearing to be based on 'The History of the Motor Car' series of collectors cards. Airbrush, watercolour and mixed media painting. Depicting a 1950-60 Cooper in green with No 2 decals framed and glazed. 32cm x 42cmProvenance: From the offices of the last Managing Director of Vandervell's in Maidenhead before the company's closure in 1997. GKN bought the company following the death of its founder, Tony Vandervell, in 1965. Consigned from the family.

A watercolour, mixed media painting depicting 1962 BRM in green with No.14 decals, framed and glazed 32cm x 42cmProvenance: From the offices of the last Managing Director of Vandervell's in Maidenhead before the company's closure in 1997. GKN bought the company following the death of its founder, Tony Vandervell, in 1965. Consigned from the family.

A rare piece of believed 1970s Brooke Bond Tea Card unused artwork, appearing to be based on 'The History of the Motor Car' series of collector's cards. Airbrush, watercolour and mixed media painting. This piece depicting a 1958 Vanwall, in green, with No 4 decals. Framed and glazed to a total size of: 32cm x 42cm. Rare. Beautiful artwork. Provenance: from the offices of the last Managing Director of Vandervell's in Maidenhead before the company's closure in 1965. GKN bought the company following the death of its founder, Tony Vandervell, in 1965. Consigned from the family.

ST HILDA'S COLLEGE the Oxford Almanac, 69cm x 44cm; Le Port De La Rochelle, number 14 coloured lithograph, 53cm x 75cm; stormy harbour scene, watercolour, an abstract oil painting and an indistinctly signed etching, 14cm x 19cm print (5)

Alfred Walter Bayes (UK, 1831 - 1909) "Playtime" Oil on canvas painting of two young girls resting on an oriental rug near a flower garden. Signed lower right. Housed in a gilt exhibition frame. Bayes exhibited in the Royal Academy (1858-1908), the British Institution (1859-1867), & the Society of British Artists & the New Watercolour Society. In 1900 he was elected as a Member of the Royal Society of Painter-Etchers. Sight size: 19 x 26.5 in. Overall Size: 29.5 x 36.5 in.

LOUISE WALKER "Clematis", Watercolour painting, signed with seal, 70cm x 54cm, in white plain frame, glazed

RONALD OSSORY DUNLOP A.R.A. (1894-1973) "The Water Cart", Watercolour painting, signed, 36cm x 49cm (see label to reverse - "J. Leger & Son, 13 Old Bond St., London W.1", dated 1942)

GEORGE BUTLER "Gypsy Washing". Watercolour painting, signed and dated Oct.2013, 40cm x 60cm, in plain oak frame, mounted and glazed, together with a LIMITED EDITION COPY OF HIS BOOK "A Year of Drawing - George Butler, adventurer and illustrator", pu bl. by "Illustration Cupboard Books", 2014, signed, no.258/500

BRIAN LANCASTER (1931-2005) "Round The Backs", a steam train passing through an urban housing area. Watercolour painting, signed, 27cm x 37cm, see to reverse 'Guild of Railway Artists' label, framed, mounted and glazed

JOHN PEARSON (Exhibited 1880-1907) "Warwick Castle from across the Avon", watercolour painting, signed 31cm x 54cm, gilt framed, mounted and glazed.

BRIAN LANCASTER (1931-2005) "Steam Age Monuments", engines in a yard with coal hoppers. Watercolour painting, signed, 31cm x 35cm, see to reverse "Guild of Railway Artists' label. framed, mounted and glazed

Watercolour of dogs and children in the manner of a Fred Yates oil painting

A Chinese gouche painting 'Chinese Restaurants and nude watercolour

Kathleen Guthrie (British, 1905-1981). Sandgate, Kent, watercolour, 21.5cm x 30.5cm, framed and glazed. This painting is not signed. Label verso reads Sandgate, Kent' by Kathleen Guthrie, 6 Mall Studios, Tasker Road, NW3.Frame is separated and unsealed. Dirt apparent under the glass on the mount and in small areas on the painting. Possible fading to watercolour.

Painting by Emmanuel Levy. Iconic nude study in watercolour and wash by the Manchester artist who was trained alongside his good friend L S Lowry by Adolph Valette. He held his first exhibition in 1924 at Manchester City Art Gallery and a major retrospective exhibition in 1948 at Salford Art Gallery. His work is in many public collections including the National Portrait Gallery in London. Image size 20" x 13". Beautifully framed and glazed. Overall size 21" x 18". Signed and dated. Please see photograph.

English School (20th century) - Still life of flowers; together with a further smaller painting depicting a lady in a striped skirt, 24" x 20" and 13" x 11" respectively, *The pictures are said to be by Bath based artist; watercolour of a still life of flowers initialled E.D, together with a large collection of various prints including a coloured facsimile print of Bath Abbey after J.M.W. Turner, and a large number of small book plates of Bath from Beacon Hill, The Lion Hotel, Guild Hall and Abbey Church, Bath, The Christopher Hotel, Market Place and St Michael's Church, Bath, The Great Western Railway through Sydney Gardens, Bath and other views (a large collection)

English School (19th/20th century) - River scene with two figures in a punt with cottages nearby, oil on canvas, 8" x 12"; together with a Victorian watercolour of flowers, 15.75" x 14" and further oil painting of flowers, indistinctly signed, possibly A.* Furst, oil on board, 16" x 11.75" (3)

Madeline Self (20th century) - Famous racehorse Red Rum on a beach, with a dog nearby, oil on canvas, 12" x 16"; together with seven further pictures including pencil drawing of a dog by B.N. Campbell, another depicting a dog initialled MBH and dated 1868, watercolour by Sam Wilmot, steeplechasing scene, drawing of a horse and jockey taking a fence, indistinctly signed, signed print by Max Brandrett, 'Desert Orchid at Sandown Park 1989', Dorothy Hardy print depicting a hunting scene and an oil painting by Michael B. Sawdy depicting a pike, various sizes (8)

[Jane Austen]. Portrait miniature of James Digweed, by George Jackson (active 1810-20s), circa 1811, watercolour, gouache, and bodycolour on ivory, oval head and shoulders half-profile portrait to right of a fair-haired gentleman with side whiskers, wearing a black coat and white stock, against a backdrop of crimson drapes and leather-bound books, small piece of paper tipped to verso annotated in contemporary manuscript 'Rvd James Digweed', 70 x 55 mm (2.75 x 2.25 ins), ebonised frame, glazed (Qty: 1)Provenance: From the portrait miniature collection of mathematician and businessman Sir Brian Kellett (1922-1994). The Digweeds were non-landed gentry who rented Steventon Manor from Thomas Knight, and subsequently his heir, Jane Austen's brother, Edward Austen Knight. Consequently they were close neighbours and friends of George and Cassandra Austen and their offspring, who lived at the rectory in Steventon, near Basingstoke, from 1775 to 1801 during George's incumbency there. Hugh and Ruth Digweed had five sons - John, Harry, James, William Francis and Francis William - who were much of an age with the Austen progeny. James Digweed (1774-1862) was born at the Manor the year before Jane was born, and so the two childen grew up together and formed a great friendship. James took holy orders in 1797 and became George Austen's curate at Steventon in 1798. His wife Mary Susannah was also a close friend of the novelist. She was the daughter of John Lyford, the Austen family doctor, who attended on all members of the family whilst they lived at Steventon. Jane Austen often referred to the Digweeds in her letters, their paths frequently crossing at dinners, balls and other social occasions. A particularly interesting letter is that sent by Jane to her sister Cassandra in 1798: 'James Digweed has had a very ugly cut–how could it happen? It happened by a young horse which he had lately purchased, & which he was trying to back into its stable;– the Animal kicked him down with his forefeet, & kicked a great hole in his head;–he scrambled away as soon as he could, but was stunned for a time, & suffered a good deal of pain afterwards.' James Digweed was also alluded to in a typically romantic vein by Jane to her sister in a letter written the following year: 'James Digweed left Hampshire to day. I think he must be in love with you, from his anxiety to have you go to the Faversham Balls, & likewise from his supposing, that the two Elms fell from their greif [sic] at your absence. - Was not it a galant [sic] idea?' ( Jane Austen's Letters , Collected and Edited by Deirdre Le Faye, OUP, 2011, pages 28 and 65) Although unsigned, in our opinion this painting is by the same artist as the portrait miniature of James's brother, Francis William, in this sale (lot 221); the works match in style and technique, and were almost certainly done around the same time. For a similar example of this little-known artist's work, depicting the sporting artist John Frederick Herring (NPG 4902) and dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue , 2004, page 299, and Richard Walker, Regency Portraits , 1985, page 246.

[Jane Austen]. Portrait Miniature of Mrs. James Digweed, née Mary Susannah Lyford, by George Jackson (active 1810-20s), circa 1811, watercolour and bodycolour on ivory, oval head and shoulders half-profile portrait to left of a young lady wearing a white dress with high-necked lace-trimmed collar, her fair hair worn piled up on her head and in curled bangs, portion of paper tipped to verso with contemporary manuscript inscription 'Mrs. James Digweed born Miss Susanna Lyford', 67 x 53 mm (2.5 x 2 ins), ebonised frame, glazed (Qty: 1)Provenance: From the portrait miniature collection of mathematician and businessman Sir Brian Kellett (1922-1994). Mary Susannah Lyford (1772-1840) married James Digweed in 1803. She was a close friend of Jane Austen, and her father, John Lyford, was a physician who attended on all members of the Austen family whilst they were residing at the rectory in Steventon between 1775 and 1801. Mary Lyford's cousin, Giles-King Lyford, was Surgeon-in-Ordinary at the County Hospital in Winchester and he attended on Jane during her final illness. In fact Jane moved to Winchester in 1817 shortly before her death so that she should be near her doctor. The Digweeds were also close friends and neighbours of the Austen family, living as they did at Steventon Manor, which they rented first from Thomas Knight, and subsequently from his heir, Jane Austen's brother, Edward Austen Knight. Although unsigned, in our opinion this painting is by the same artist as the portrait miniature of Susannah's brother-in-law, Francis William, in this sale; the works match in style and technique, and were almost certainly done around the same time. For a similar example of this little-known artist's work, depicting the sporting artist John Frederick Herring (NPG 4902) and dated 1822, see David Saywell & Jacob Simon, National Portrait Gallery, Complete Illustrated Catalogue , 2004, page 299, and Richard Walker, Regency Portraits , 1985, page 246.

Blunden (Anna, 1829-1915). Polurrian Cove looking towards Mullion Island, Cornwall, 1900, watercolour, showing a summer seascape, signed and dated lower right, 48 x 84 cm (19 x 33 ins), framed and glazed (Qty: 1)English Pre-Raphaelite artist Anna Blunden was a member of John Ruskin's circle, who exhibited regularly at the Royal Academy, the Society of British Artists and the Birmingham Society of Artists. She worked originally in oils, subsequently channelling her energies into painting landscapes in watercolour, and Cornwall was a recurrent theme. Some of her early pieces explored themes of social injustice, such as the exploitation of women in the clothing trade, and in 1859 she was one of a number of women who petitioned for females to be allowed entry into the Royal Academy. She travelled to Switzerland and Germany, and set up a studio in Rome before returning home after her sister's death in 1872, soon after marrying her brother-in-law Francis Richard Martino. It is thought that not many of her works survive due to a number being destroyed by bombing in the Second World War.

Victoria (Queen of Great Britain, 1819-1901). Portrait of Prince Friedrich Wilhelm of Prussia, after Anton Hähnisch (1817-1897), watercolour, with traces of pencil, depicting Prince Friedrich ( later Wilhelm II, German Emperor) as a baby, seated, wearing a white lace dress with pink sash and shoulder ribbons, a white lace bonnet, and blue shoes, holding a silver rattle in his right hand, and with the outline of a Mr. Punch toy at his side, signed in pencil 'V.' lower right, 21.5 x 16 cm (8.5 x 6.25 ins), mounted, framed and glazed (Qty: 1)Provenance: Given by Queen Victoria to Miss Sarah Hildyard ('Tilla'), governess to the royal children; sold by her descendants at Sotheby's, 25th January, 1968, where purchased by the current owner. Prince Friedrich, later Wilhelm II (1859-1941) - or 'Kaiser Bill' as he was popularly known - was the eldest child of Frederick III, German Emperor and King of Prussia, and his wife Victoria, Princess Royal, eldest child of Queen Victoria. Anton Hähnisch's portrait miniature of Prince Friedrich was commissioned by Queen Victoria, and a second version, painted by the artist expressly for the Queen, is housed in the Royal Collection (RCIN 420524). On 30th December 1859 the Princess Royal wrote to Queen Victoria: "Hähnisch is painting my miniature and Baby's – … Baby's is quite horrid, too dreadful, so affected and disagreeable, not the least like the child; but he paints quite beautifully only he uses too much violet lilac and pink in the face, not the pure, transparent freshness of Sir William Ross". On 11th February 1860 Victoria wrote again to her mother: "Hähnisch is copying Baby's Picture for you, and I hope you will have it soon". The Princess evidently valued the finished work as she wrote of the artist some months later, "he paints very well you know", and the Queen must have approved of the picture to have taken the trouble to attempt her own copy of it. Queen Victoria didn't meet her grandson until September 1860, when she wrote that he was: "a fine fat child, with a beautiful white soft skin. We felt so happy to see him at last."

Jane SCOTTIncoming Tide Watercolour Signed Signed and inscribed to the back32 x 45cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.

Roland COLLINS May Day, Padstow Gouache Together with four other works from Rose's cottageThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room. Condition report: The work is an original gouache and watercolour on buff paper. Image size 51 x 36.2cm. Provenance: The Wills Lane Gallery, St Ives

Rose HILTON (1931-2019) French LandscapeWatercolourSigned, inscribed and dated 2000Studio seal to the back 29 x 38cmThis very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room. Condition report: Mount shows evidence of foxing. Watercolour slightly faded and dirty around the outer edges, consistent with age. Inscribed and dated France 2000 lower left. Signed Rose Hilton lower left. Behind a glass slip frame.

C BAKERAfternoon Light, Tresco Watercolour Together with four other works from Rose's cottage This very personal collection of pictures from the painter Rose Hilton's Botallack Moor house are those she kept about her and saw every day. Botallack was her home for 54 years during 10 of which she was married to the older, abstract painter, Roger Hilton. The house with its views across ruined mine workings to the wide sea was formed of a row of miners' cottages that Roger had spotted advertised for sale in The Times, knocked through and modernised to make a home for their young sons Bo and Fergus. Roger brought a few inherited pieces of antique furniture and the austere self portrait painted by his mother as a student at the Slade School of Art. Rose added her own casual decorative touches, described by their friend the poet W.S. Graham as, 'the Beat style.' The artists in this far flung corner of the St. Ives diaspora had always gifted and swapped pieces amongst themselves and as Rose's painting career reignited in the years after Roger's death she began buying and adding to the growing collection at Botallack. The back wall in the little kitchen hung in a stack, edge-to-edge and almost to the ceiling, featured two by Terry Frost, another from Breon O'Casey was above the upright piano, there were landscapes in the bathroom and a 'gallery' corridor wall that she continually rehung with newer works: pieces by Fergus Hilton and her friends Jeremy Le Grice and Frank Phelan, her elder son Bo Hilton (also a painter) and a pair of striking paintings that she had bought as memorials to her old friend the painter Mary Stork. The picture store in the downstairs back room that was Roger Hilton's bedroom cum studio during the last years of his life was full up, too. 'If you're an artist, you're visual, so you usually paint walls white and have flowers and nice materials and things,' Rose said, describing her style.Rose was generous almost to a fault, and when she was not occupied with painting a steady stream of friends, fellow artists and curious visitors filled this hospitable house, art historians, collectors or the regulars of her weekly life drawing classes and older friends who arrived to talk and drink and join in with singing the chapel hymns she knew by heart around the piano that she had bought from the local pub and the fire in the Long Room.

T H SHAYLER 19thC watercolour painting of Whittington Castle nr Oswestry signed 28 x 20 cm

A miniature painting, depicting coach and horses with passengers at speed, unsigned watercolour, oval in gilt slip, papier mache frame and acorn finial, 9cm x 7cm in extremes

A Chinese Painting, Qing Dynasty, depicting a lady holding a lit candle and a girl crouched over a wicker basket holding a folded cloth, ink and watercolour, 18-character inscription and two red seals, 38 x 20in.

A Chinese painting depicting Lu Xing, late Qing Dynasty, the star god dressed in red dragon robe and elborate headdress, holding a ruyi sceptre beside an elegant female and a boy attendant with scroll and jade seal, watercolour on paper, 48 x 24in. Footnote: The star of Lu in traditional Chinese astronomy, is the sixth star in the Wenchang cluster, and like the Fu star came to be personified. The Lu star is believed to be Zhang Xian who lived during the Later Shu dynasty (AD934-965). The word 'lu' specifically refers to the salary of a government official. As such, the Lu star is the star of prosperity, rank, and influence. The Lu star was also worshipped separately from the other two (Fu and Shu) as the deity dictating one's success in the imperrial exams, and therefore success in the imperial bureaucracy. The Lu star is usually depicted in the dress of a mandarin.

JOHN WHITE RI (1851-1933)Figures on a Path, overlooking the Seasigned 'J. White RI' (lower right)watercolour and bodycolour18 x 11 1/4 in (45.7 x 28.6cm)John White's parents emigrated to Australia in 1856, and he was educated at Dr. Brunton's School, Melbourne. He returned to Edinburgh and studied at the Royal Scottish Academy between 1873-1879. Later he came south and exhibited at the Royal Academy, Suffolk Street, The New Watercolour Society and Graves Galleries. He became a member of the RI in 1882.Paintings exhibited at the Royal Academy included 'Haymaking in Devon', 1895. In the Exeter Museum is a work entitled 'A Village Wedding, Shere Surrey'. White lived for much of his career painting scenes of life along the East Devon coast including Branscombe, Seaton and Sidmouth. He also painted scenes on the North Devon coast including scenes at Lynmouth and Clovelly

WALTER RICHARD SICKERT RA (1860-1942)South Facade of St. Jacques, Dieppe inscribed '1907' (lower right)chalk and gouache, with touches of watercolour on paper, browned, squared, laid down on backing mount12 1/2 x 8 3/4 in (31.7 x 22.3cm)Provenance: with Messrs Roland, Browse and Delbanco, London Mrs H Hammersley, Christie's, King Street, London 19th March 1971, lot 54, £200 anon Private Collection, LudlowThis working sketch is believed to be a study for an oil painting which depicts the south facade of Saint Jacques, the fourteenth century Cathedral in Dieppe. That work (Collection of the Museum of Rouen) is dateable to 1907-1908.Wendy Baron described Sickert as the topographer of Dieppe. 'Sickert's pictures of Dieppe's Waterfront, Streets, Churches and Old Houses constitute an enduring and reliable record of its aspect' (See Wendy Baron, Sickert, Phaidon, 1973 p 55)Sickert's long association with Dieppe began in his childhood and continued until 1922 - a period of over three decades. The town inspired a prolific concentration by the artist on its buildings and street-scapes. Indeed the artist Jacques Emile Blanche wrote of Sickert that 'no other artist has perfectly felt and expressed the character of the town whose Canaletto he has become'.For a depiction of the south facade of St. Jacques, from a similar viewpoint as the Brightwells' example, cf. an oil painting by Sickert offered at Christie's, King Street, London, lot 1 June 28th 2006. The Church of St. Jacques was a favoured subject for the artist. He had an interest in the dark and brooding aspect of the Gothic structure and painted it under all sorts of light and weather conditions. His numerous views of the building in the period c.1898 -1910 have resulted in a body of work whose diversity of mood and manner of execution provide one of the most intense legacies of those years.

JOHN LINNELL (1792-1882) By a Riversigned 'J. Linnell' (lower left)pencil, sepia ink and watercolour 5 1/4 x 7 1/2 in (13.9 x 19.1cm)Dateable to c.1829This drawing relates closely to a slightly larger pen, ink and wash variant of the same subject, which was sold at Christie's London, lot 95, Nov 16th 2006. Both studies display a view of the river from an identical viewpoint. In the Brightwells example however, the artist has added considerably more colour into the composition.Both drawings appear to be a studies for a larger oil painting on panel by the artist (dateable to 1830) which was sold at Sotheby's 17th July 1977, lot 49. On a page of Linnell's Journal (British Museum) dated 1829, there is a rough sketch by the artist of that work titled as 'A Village near a River-Showery Weather'. Linnell may have painted a duplicate version of the oil painting as another pen and ink sketch by him of the same subject appears on another page in the Journal (dated 1830) inscribed 'Duplicate of Village near a River'.The Brightwells example can also also be compared on stylistic grounds with another watercolour by the artist which was once owned by Sir William Agnew Bt. That work titled 'An angler by a river at Sunset', was sold at Christie's South Kensington, London, December 8th 2011, lot 396

Archibald Kay (1860-1935) oil painting of Dutch river scene, 20cm x 25cm together with woodland watercolour by A P Thomson and five Thai leather cut-outs (7)

Thomsett (20th century) - Study of a young woman crouching amongst wild flowers, mixed media on fabric panel, 77 x 47cm, unframed, together with further pictures and prints including O Schmidt, 20th century continental school, landscape with cottages, oil on canvas, signed, 50 x 60cm, an early 20th century oil on canvas of daffodils and iris, signed with initials GB, an oil painting on canvas of an oriental style scene with fishing junk, a pair of coloured hunting prints after Lionel Edwards, watercolour of a Mediterranean style archway, indistinctly signed F Pini, etc, various sizes, mostly framed (12)

Believed Bristol.- South West.- Jackson (Samuel, 1794-1869) Watercolour painting of a farm beside river / pond  with trees to the background. Signed to the corner, unframed. Measures 54cms x 33cms

A pair of 19th century watercolour triptych paintings to include views of Bristol from Bedminster Down, Red Lodge, St Stephens Church, Temple Tower, College Green, The Salutation Inn Henbury and a framed and glazed watercolour painting of a pub / street scene signed Hancock 1863. Measures 58cm high x 40cm wide x 51cm depth.

* CLAIRE HARKESS RSW (SCOTTISH b 1970), KINGFISHER watercolour on paper, signed and dated '96 23cm x 16cm Mounted, framed and under glass. Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Six hundred miles due west of Ecuador surrounded by the Pacific Ocean lie the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through the paintings. Painting in watercolour offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery and at other prestigious galleries around the UK.

* JANET KENYON (BRITISH b 1959), NELSON'S COLUMN (LONDON) watercolour on paper, signed 51cm x 71cm Mounted, framed and under glass. Note: Janet Kenyon is the multi-award winning watercolour artist who has gained an enviable reputation for her innovative use of watercolour and is now widely recognised as one of the UK’s leading watercolour artists. Over the course of her career, Janet has received an impressive number of accolades, including winner of the Sunday Times/Smith & Williamson Cityscape Prize twice , first in 2009 for her painting titled: Northern lights, Blackpool and most recently in 2016 for her painting titled: Gridlock (Manhattan) The Sunday Times Watercolour Competition is the largest and most prestigious showcase of contemporary watercolour painting in the UK. Born and brought up in Bolton, Lancashire in 1959. In 1975 she studied for two years at Bolton College of Art & Design. In 1977 she moved away from Bolton to study at Leeds Polytechnic and later gained a B.A. Hons. in Graphic Design. It was here she began to experiment in watercolour and ever since as continued to push the boundaries of this very difficult medium. For Janet it’s the capturing of natural & artificial light, in her paintings, and the way it interacts with the landscape, alongside the unexpected perspective and sense of space, that ignites her imagination. Janet’s highly individual and distinctive landscapes have been exhibited in many leading galleries including the Mall Galleries, London, The Royal Scottish Academy, Edinburgh and The Lowry Gallery, Salford and can also be found in corporate and private collections throughout the UK and abroad.

Nora Howarth Watercolour painting of two spaniel dogs signed, 20cms x 30cms