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WARREN WILLIAMS ARCA watercolour - harbour scene with buildings and boats, an unfinished and unsigned painting selected for framing from a series of sketches and works in progress, passed down through the family and framed in the late 1980s, 23 x 36 cms

MARTIN HARDIE: 'Watercolour painting in Britain', three vols and other books on art

W Whitting, early 20th Century British school, cottage by a lane, signed and dated 1909 oil on canvas, 45cm wide, Jeremy Evans, 20th Century British school, ships in an 18th Century scene, signed oil on canvas, dated 1980, 75cm wide and an Oil painting of a cottage at dusk by a path, monogram oil on canvas, 49cm wide, together with a snowy scene watercolour, (4)

Early C18th ink & wash painting of fountain details 17 x 18 cm framed & glazed, watercolour signed lower right Frank Smallwood of Strasburg Cathedral 26.5 x 36 cm in good gilt frame

After Roy Lichtenstein, 'Why Brad darling, this painting is a Masterpiece', watercolour, framed and glazed, 20 x 25cm

*John Darlison^ watercolour^ a demonstration painting for the Dorking Group of Artists^ signed^ 55 x 70cm.

A rare original ink and watercolour painting sketch of Shaun The Sheep by creator Richard ' Golly ' Goleszowski (now Richard Starzak). The painting in pen and watercolour depicts Shaun The Sheep (made famous in the Wallace & Gromit film ' A Close Shave ' by Nick Park ) running. The painting has been signed ' Golly ' and dated 2007. Unframed. Measures approx; 30cm x 21cm. On card. 

A rare original hand drawn and painted watercolour painting of Wallace & Gromit by creator Nick Park. The watercolour and ink sketch depicting Aardman Animations' iconic duo in full colour. Signed to the lower right corner by creator Nick Park. On paper. Measures approx; 20cm x 20cm. Obtained via a charity auction by the vendor. A rare and charming Bristol related watercolour. 

[§] JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961)THE YACHTS, BOURNE END pencil and watercolour, inscribed on a contemporary label to backboard 'For Mrs Catto in friendship from Margaret Peploe'20.5cm x 25.5cm (8in x 10in)Note: This painting was consigned through John Milne Auctioneers of Aberdeen.

NO RESERVE Biagio Rebecca (1735-1808) Studies for a ceiling design; Portrait of a clericTwo works, pen and ink with watercolour, on laid paper without watermarks, the former approx. 85 x 117 mm. (3 3/8 x 4 5/8 in), the latter 157 x 130 mm. (6 1/8 x 5 1/8 in) (unframed) (2)Provenance:Ex-collection of Edward Croft-Murray (Keeper of the Department of Prints and Drawings at the British Museum from 1954-1973)⁂ 'Rebecca studied at the Accademia di San Luca, Rome, and while there he met the painter Benjamin West, who remained his lifelong friend [...] he was especially skilled in decorative painting and became one of the most prolific and talented of the Adam school, working not only for the Adam brothers but also for James and Samuel Wyatt and Henry Holland'. [Oxford DNB]

* JEKA KEMP (BRITISH 1876 - 1967), BEACHED BOATS watercolour on paper, signed 24.5cm x 30cm Mounted, framed and under glass. Note: Jeka Kemp was born in Bellahouston, Glasgow where she began her artistic training before continuing in London and later at the Academie Julian in Paris between the years 1903-4. Kemp had her first solo exhibition in Scotland around the year 1907, and is known to have exhibited at the Macindoe’s Gallery in Glasgow regularly between 1910 to 1914. Kemp lived in Paris at 49 Boulevard Montparnasse and in 1922 her "La Liseuse" was catalogued as painting number 1 in Le Salon D'Automne and for a prolonged period she was regularly exhibiting and socialising with many of the titans of European 20th century art. La Liseuse was sold again at John Nicholson's (Surrey) lot 422 31.10.2018 for £1600 and in 2006 "French Harbour Scene" a small watercolour was sold at Lyon & Turnbull (Edinburgh) for £1900 (lot 1, 26.05.2006) Kemp's reputation was recognised internationally, and her work was bought by the French Government on several occasions and this interest encouraged the artist to exhibit at the Marcel Bernheim in Paris and the Galerie de la Librairie de la Press in Nantes. Kemp also continued to exhibit in her native Scotland throughout her career. Her work is held in a number of eminent private collections across Europe.

WILLIAM MARSHALL BROWN RSA RSW (SCOTTISH 1863 - 1936), SHORE, PRESTONPANS (SCOTLAND) oil on canvas, signed 20.5cm x 30cm Framed. Labels verso: Doig, Wilson and Wheatley; together with title in the artist's hand and signature. Note: Prestonpans (East Lothian) is a small fishing town to the east of Edinburgh. William Marshall Brown was born on the 3rd January 1863 and was educated in Edinburgh. He studied art at the Royal Institute, Edinburgh and the Royal Scottish Academy Life School. He received the Chalmers Bursary and Stewart Prize in 1888 and was elected an Associate of the Royal Scottish Academy in 1909 and a full Member in 1928. He was also made a Member of the Royal Scottish Watercolour Society in 1929. He painted in Scotland, Holland and France and much like the Glasgow Boys he often worked in Cockburnspath and the surrounding area of East Lothian and Berwickshire. Marshall Brown's painting technique in both oil and watercolour was broad and lively. His subject matter was often windswept beaches with workers or sand dunes with children. His work was popular and remains so, with numerous examples of his paintings achieving auction prices above £10,000 in recent years. William Marshall Brown died on the 26th April 1936. Nineteen of Marshall Brown's paintings are held in Scottish and English public collections.

ϒA rosewood and brass bound cased composite set of drawing and painting instruments and equipment, the case inscribed for Stanley, London, the removable tray with an assortment of various drawing instruments including compasses and dividers, the second tray with various old watercolour paints, brushes, and knibs, the divided base with rulers, 7cm high, 20cm wide, 16cm deep ϒ Indicates that this lot may be subject to CITES regulations when exported. Please see our Terms & Conditions for more information.

* KUSTODIEV, BORIS (1878–1927) Bakhchisarai, signed and dated 1917.Oil on canvas, 80.5 by 94 cm.Provenance: Collection of N.D. Andersen, Leningrad.Acquired by the grandfather of a previous owner.Private collection, UK.Authenticity of the work has been confirmed by the expert V. Petrov.Exhibited: Mir Iskusstva, Petrograd, 1918.Boris Mikhailovich Kustodiev, State Russian Museum, Leningrad, 1959.Literature: Exhibition catalogue Mir Iskusstva, St Petersburg, 1918, p. 9, No. 174, listed.V. Voinov, B.M. Kustodiev, Leningrad, Gosudarstvennoe izdatelstvo, 1925, p. 84, listed under the works from 1917.Exhibition catalogue, Kustodiev, Leningrad, 1959, p. 37, listed under the works from 1917.M. Etkind, Boris Mikhailovich Kustodiev, Leningrad, Iskusstvo, 1960, p. 197, listed under the works from 1915, marked as completed in 1917.M. Etkind, Boris Kustodiev, Moscow, Sovetskii khudozhnik, 1982, p. 178, listed under the works from 1917.Related literature: For a study for the present work, see Gosudarstvennaia kartinnaia galereia Armenii. Zhivopis. Skulptura. Risunok. Teatr. Katalog, Yerevan, Aiastan, 1965, p. 502, listed as Prodavtsy fruktov. Bakhchisarai.Boris Kustodiev’s painting Bakhchisarai, offered here for auction, is a unique work in the artist’s legacy. Among his classic easel works, it stands out because of its unexpected Oriental subject, which is more reminiscent of a stage set than the canvasses typically associated with the artist; and also because of the precise geographical siting of the motif and the vibrant range of colours in the night landscape — a palette that is unusual even for Kustodiev.In 1915, the artist spent two months in the Crimea, but, through a combination of circumstances, Bakhchisarai is now the only reminder of this trip. Perhaps this is because the journey to the Crimea was something that the artist needed, rather than wanted, to do. Kustodiev’s spinal illness was growing progressively worse, and he urgently required a change of climate; he also wanted to try a medicinal mud treatment. In a letter to the art historian and collector Fyodor Notgaft dated 2 September 1915, he complained: “I came to Moscow, and soon I have to leave it again — the doctors insist, and I feel it myself, since my health is very, very poor.... I’m going to Simferopol on the 11th, and from there on to Yalta. I’ll be in a clinic there for 2 weeks, and then I’ll be living near Yalta for about a month and a half...” (B.M. Kustodiev. Pisma, statii, zametki, interviu, Leningrad, Khudozhnik RSFSR, 1967, p. 151).We know very little about the artist’s stay in the Crimea. More precisely, we know only the scant details that he revealed to his relatives and friends in letters. At the beginning of October, Kustodiev writes from Yalta to his daughter Irina: “Mum and I have a large, very bright room facing south — there are poplars, palm trees, roses and pines in front of the windows — there are mountains in the distance. The windows are wide open all day, it’s very warm. At 4 o’clock, they treat me with black, rather foul-smelling mud, then I take a bath, after that I lie down for a while on the bed till dinner, which is at 7 o’clock in the evening. It is really rather boring here, and we can’t wait to leave...”The same sort of despondency — albeit even more acute due to the change in weather — can also be seen in a letter that Kustodiev sent a few days later to the actor Vasily Luzhsky: “I’m listless and depressed. I don’t want to do anything. Despite even the muchhyped warmth and sunshine here, it’s very dreary and boring. Now we barely see either of them, it’s cold, the sun comes out for about two hours in the morning, and almost the whole sky is covered in rain clouds.” Because of his bad mood and poor state of health, Kustodiev does little work in Yalta. He is dispirited because the mud therapy, on which the doctors had pinned their hopes, has not brought about any positive changes, and a week before his departure, planned for 22 October, he, seemingly reluctantly, blurts out in a letter to Luzhsky: “I won’t write about myself — everything’s the same or even seems worse....”It is likely, therefore, that the only artistic impression associated with the artist’s stay in the Crimea was a trip to Bakhchisarai. It is from there that he brought one small watercolour study. Today, this sheet, which has preserved the original composition showing the small square near the old palace of the Crimean Khan, where the fruit vendors have taken up their positions, is housed in the National Gallery of Armenia in Yerevan. The drawing was made from real life in the morning, when there was still no bright sunlight, and the sellers were just laying out their wares in the square among the small buildings of the ancient capital of the Crimean Khanate, surrounded by mountains. This study was used for the big picture, dated 1917, which Kustodiev executed when back in his studio in Petrograd.During work on the canvas, Kustodiev altered the sketch quite substantially. The central emphasis in the figural and dynamic structure of the picture is now not so much on the landscape but rather on the conveying of light and colours of an evening street in the little Tatar town. The composition boasts an abundance of characters and eloquent details that reveal the subject because of their convincingly realistic and authentic rendering. However, the groundwork for the structural design of the composition was undoubtedly laid by the watercolour sketch. The mountains encircle the space in the distance, so that the main action, devoid of any centre, takes place in what looks like a narrow stage setting, bounded by a backdrop of characteristic Oriental structures.The repeated horizontal divisions — the outlines of the gently sloping mountains and oblong roofs — contrast with the vertical forms of the minaret and the rising smoke from a furnace and, combined with the bustling crowd in the foreground, constitute the basis of a rhythm, the vibrant waves of which run through the market square, the diagonally diverging streets and the picture as a whole. The artist eschews any literal handling of real life and daringly creates the provocatively gaudy colour combination of an orange sunset sky, dark-blue shadows and the thin sickle of a moon, the cold light of which is offset by the blindingly hot light of the windows.As Kustodiev creates a universal image of “the east”, he is looking for a generalisation that is convincing because of specifically recognisable details and literal quotations from what he has seen in reality. He chooses to combine the impressions of what he has seen at different times of the day and in different places; yet it is not a chaotic, random and arbitrary mishmash, but a strictly organised whole. Unusual though it may be, Bakhchisarai undoubtedly fits into Kustodiev’s artistic system of the 1910s, in which the theme of the colourful street fair and street trading is prominent. From Village Bazaar (1903) and The Fair (1906) onwards, the persistent theme in Kustodiev’s work comes to be that of crowded and plentiful shopping squares, market days and Volga vegetable displays, which symbolise the inherent, natural wealth of the land and the fruitfulness of farm labour.

ATTRIBUTED TO SUE HOWELLS (BRITISH CONTEMPORARY) WHITEWASHED COTTAGES ABOVE A FIELD, attribution to the mount, framed and glazed, approximate size 28cm x 39cm, the artist was giving a painting demonstration to the vendors watercolour group and the painting was auctioned at the end of the evening, the vendor was the successful bidder

A 19th century framed watercolour portrait of a maiden with a basket a similar oil painting and a framed still life.

A Chinese watercolour scroll painting depicting figures within a mountain waterfall scene with signature

A Chinese watercolour scroll painting depicting figures within a mountain waterfall scene with signature

A MINIATURE PAINTING ON METAL PANEL, portrait of a youth 7.5cm x 5cm together with another MINIATURE PAINTING of the Madonna, with angel in attendance, watercolour heightened with gilding, 5.5cm diameter, gilt framed tonto

FREDERICK HENRY HENSHAW (1807-1891) "Classical Ruins" with figures, Watercolour painting, signed F.H. Henshaw bottom left, 13cm x 20cm, mounted in gilt glazed frame

BRITISH SCHOOL Botanical Study with Butterflies, Watercolour painting, 48cm x 37cm, glazed frame with gilded decoration

ZIPORA Landscape, Watercolour painting, signed, 14cm x 18cm, mounted in gilt glazed frame

E.J. PENNYFATHER "Seated Terrier", a canine study, Watercolour painting, signed, 51cm x 35cm, mounted and glazed in plain oak frame

GIOVANNI BARBARO (1864-1915 AKA Arthur Dudley) "Still Life of Wine and Fruit", Watercolour painting, signed A. Dudley, 76cm x 27cm, mounted in gilt glazed frame

LESLIE GOODWIN MBE (1929-) "Sunny day - La Rochelle", watercolour painting, signed, 30cm x 47cm, burr wood framed, mounted and glazed

20TH CENTURY CALCUTTA SCHOOL Indian watercolour painting, landscape with hunting and agricultural detail, 23cm x 15cm, pine framed, mounted and glazed

ALBERT WILLIAM AYLING (1829-1905) R.C.A. "River Landscape" with distant cottages, Watercolour painting, signed, 53cm x 79cm, gilt framed and glazed

LESLIE GOODWIN, MBE (1929-) "Sunday Stroll", Watercolour painting, signed, 27cm x 35cm, in burr wood frame, mounted and glazed

LUDOVICI "Dieppe" with figures in the foreground, Watercolour painting, signed, inscribed and dated 1927, 24cm x 34cm, white painted frame, mounted and glazed

A Chinese signed watercolour scroll painting of a Winter scene, W. 85cm.

In the manner of Peter De WintLaying the Netsattributed to verso, watercolour, 26cm x 41cm Condition Report: The watercolour is framed and protected behind glass. As viewed through the glazing the painting appears to be in good condition, some slight discolouration

Kim Leong Watercolour Painting: the painting depicting the "King of the Jungle", with signature.

Filippa Whitford: Watercolour painting depicting 'Basket of Flowers', approx 17.5 x 12 cms, signed lower right, glazed and framed. 

An early 20th Century Edwardian watercolour painting of lady in scarf with feathered hat set to oval gilt slip. The portrait being framed within gilt brass acanthus leaf decorated frame. Decorative embroidery of leaves and flowers to backing. Frame measures 22cm by 18cm.

Oil on panel depicting hens, unsigned, within a gilded frame, alpine painting monogrammed VSL, pencil and charcoal sketch of a still life nude, 12 tiles making up a decorative panel depicting birds and flowers, two Chinese reverse glass paintings in wooden frames, and a watercolour painting of a chair (7)

* 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.

* JAMES S DAVIS DA PAI RSW FRSA (SCOTTISH b 1944), HOME FOR TEA mixed media on panel, signed 45cm x 50cm Mounted, framed and under glass. Note: James Davis was born in Scotland in 1944. He studied contemporary painting at the Glasgow School of Art between 1963 and 1967. He specialised in drawing and painting under the tutorage of Scottish artists William Armour and David Donaldson. For more than 40 years James Davis paintings have been exhibited extensively with the Royal Glasgow Institute ( RGI), Royal Scottish Watercolour Society (RSW), Royal Scottish Academy RSA and the Paisley Art Institute ( PAI). James Davis was elected to the RSW in 2003. James Davis paintings are predominantly landscapes, figurative and portraits and he paints in both watercolours and oils. Davis has been the recipient of many art awards for his contemporary paintings including the David Cargill Award; RGI in 2003 and the Reid Kerr Painting Award in 2005. James has established a strong following with leading private and corporate art collectors of contemporary Scottish art. These include: HRH The Duke of Edinburgh; The Royal Collection; Holyrood Palace; King Hussein Family Private collection; Vatican Commission Scott's College Rome; Glasgow City Chambers; Merk Finance; Arisaig Holdings, Singapore and Strathclyde Education Authorities. His paintings also feature in many private contemporary art collections in the UK, Canada, USA, Italy, Holland, France, Switzerland, Australia and Tasmania.

Yu Peng (Taiwan 1955-2014) ARR Ink and colour wash painting, signed and with red artist seal, 'Scholars gathering, depicting figures and animals among potted plants' 70cm x 45cm The watercolour was purchased from Hanart 2 Hong Kong in 1989 (Receipt included) The watercolour has been applied to a scroll. The watercolour is in very good condition, with very little fading. The scroll has a crease at the lower corner on the painting, there is a very minor damage/hole in the lower part of the scroll.

Early 20th century gilt framed seascape watercolour painting by Garman Morris signed measures approx 69cm by 28cm

Early 20th century gilt framed seascape watercolour painting by Garman Morris signed measures approx 69cm by 28cm

MORGAN MICHELE: (1920-2016) French film Actress. Attractive signed 11.5 x 7.5 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in silver ink to the bottom right corner, and dated 1967 in her hand. Bearing to the verso a Michele Morgan succession ink stamp. From 1970 Morgan spent a large part of her life to her passion, the painting. VG £80-100

A rare set of six 'Red Chamber' painted silk panels, Qing Dynasty, first half of 19th century, each panel is embroidered with a figural scene from the Chinese masterpiece novel Dream of the Red Chamber, depicting Lin Daiyu discussing music theories in the courtyard; Jia Baoyu playing Go with Miao Yu in an open pavilion; Qing Wen, Jia Baoyu's maid, sitting in front of a painted panel and tearing paper fans; two ladies playing the flute in the Hall of Tubi; Jia Xichu making a painting of the Grand View Garden; Shi Xiangyun reading in the garden and planning to set up a poem club with Xue Baochai, the raised padded relief with painted details in watercolour, the textile panels approximately 106cm x 39.5cm, each mounted and in hardwood frames, later gilt, with original panels backs (6) Provenance: From a private English Collection 清19世纪 本色地堆绫彩绘《红楼梦》人物挂屏一组六件 拍品来源：英国私人珍藏

A watercolour of a woodpecker perched on a rowing boat, signed ‘Goodwin’ (faded); an oil painting entitled ‘A glimpse of the sea’, signed with initials ‘WB’ and dated 1881; and a small unsigned harbour scene with boats (3)

Gerald Rickards (British 20th Century 1931-2006), "Preston Guild Window", gouache, 31.5cm x 34cm, unsigned, titled verso, glazed and framed 41.5cm x 46.5cm.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), "Revelation Series Second Creature Like An Ox", oil on canvas, 41cm x 51cm, 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, 51cm x 86cm, signed, titled and dated 1967 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 Bird Target One", oil on canvas, 66cm x 51cm, signed, titled and dated 1968 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), "Red Line", oil on canvas, 71cm x 51cm, signed, titled and dated 1968 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), "4 & 20 Elders", oil on canvas, 61cm x 71cm, signed, titled and dated 1968 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, 71cm x 107cm, 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), a group of four large mural designs, gouache, 216cm x 148cm, 178cm x 143cm, 187cm x 148cm & 273cm x 142cm, 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.

GU LUO (1763-1837) A LADY PUTTING ON MAKEUP IN THE STYLE OF TANG YING A Chinese fan leaf painting, ink and colour on paper, inscribed, signed Gu Luo,with one artist's seal and two collector's seals, together with two fan leaf paintings and three panels of watercolour, 15cm x 47cm. (6) Provenance: from a private collection, London, formed in the 1980s and 1990s.顧洛及錢慧安等六件 曉粧圖 設色紙本 扇面來源：倫敦私人收藏，1980年代至1990年代。

YANG YAN PING (1934-) THE AIR OF AUTUMN A Chinese watercolour painting, ink and colour on rice paper, made in 2006, 96.5cm x 88.9cm. Provenance: from an English private collection, bought from Michael Goedhuis in 2008. Yang Yan Ping interprets traditional Chinese painting methods innovatively. After formal training as an architect, Yang went on to work for the Museum of Chinese History and the Revolution, where she learned about Chinese traditional watercolours that inspired her to study further. Later, Yang discovered her favourite subject, the lotus flower, a symbol of intellect and purity in Buddhism. 楊燕屏（1934-） 入秋 設色紙本 二零零六年作來源：英國私人收藏，2008年購於Michael Goedhuis畫廊。

Henry Barlow Carter (1803-1867)/Fishing Boats Jersey Morning/signed; inscribed on mount/watercolour, 12cm x 17cm/and an adjustable easel for the same CONDITION REPORT: Signed on image lower right, title inscribed on mount. Both mount and painting have suffered from exposure to light over the years and are quite browned. Back board bears chalked auction marks (see additional image) and is slightly loose in frame. Cracks to gilt corners of frame. Modern wood easel.

Corneille Henri Dee (1862-1935) - Study of Delphiniums and Wisteria, watercolour, signed lower righ, 75 x 54 cmSlight discolouration to the pale areas of the painting, otherwise colours are bright and good

Edmund J Sullivan (1869-1933) - Still life study with summer flowers in a Toby jug, watercolour, signed and dated 1929 lower right, 30 x 25 cmThe painting is a watercolour

A gilt, framed watercolour portrait painting of a Regency lady. Approx 29x30.5cm

An interesting, original framed Chinese watercolour painting showing two girls paddling on the edge of a lake filled with ducks.Possibly Cultural Revolution era, character script within painting.Approx 82.5 x 110cm

Marianne North ( 1830 - 1890 ) - A 19th Century watercolour painting on paper depicting a landscape scene of Lake Maggiore in Italy having a bell tower to the foreground with views of the Lake and an island behind in front of a mountainous backdrop. Believed to be Marianne North as she was a friend of vendor, framed and glazed. Measures 18 cm high x 25 cm wide.

A SMALL COLLECTION OF WATERCOLOURS and an oil painting to include a watercolour by Ken Messer, two by James Henry Dexter (b. 1912), a still life of fruit, oil on canvas etc., (5)