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Late 19th/early 20thC School. Lake scene, boats and ruined building, watercolour, oval, 23cm x 42cm, and a painting signed Pasina of roses, in cream and gilt circular frame, 52cm diameter.

A Framed Acrylic and Watercolour Painting of Nuway Coalport by Michael Collins, October 1982, 59 x 42cms

Two J Hampshire watercolour coastal landscapes together with a further oil painting of St Mary's lighthouse

A group of pictures and prints, J Elcoat painting of Durham Cathedral, 3-D picture of the Cutty Sark in frame, Kenneth Armstrong watercolour of fishing boats in harbour at North Shields etc

M G Webb, watercolour painting, cows drinking at a river. Signed lower left. 33cm x 50.5cm. Framed and glazed.

Ann Waite - watercolour painting of a tawney owl. Signed, 24cm x 30cm, framed and glazed

Watercolour painting signed 'R. Taylor' and dated 1921. A sailing boat and jetty. With visible foxing. Framed. H.23 W.28 cm.

After John Sell Cotman (British. 1782 – 1842). Watercolour painting. Landscape. Foxed. H.39 W.50 cm.

PAINTING WATERCOLOUR

A 19TH CENTURY WATERCOLOUR PAINTING ON PAPER OF SHIPS IN A HARBOUR,Mounted in a frame and glazed.

A MODERNIST ABSTRACT WATERCOLOUR PAINTING, indistinctly signed in pen (lower right), mounted, framed and glazed, 36.5cm h x 26cm w (unframed), 58cm h x 42cm w (framed)

JOAN PRYNN WATERCOLOUR PAINTING ON PAPER 'PADSTOW' 28cm x 16cm

THREE BOXES OF USED AND UNUSED ART SUPPLIES, to include unused Windsor & Newton tube and pan painting boxes, Reeves soft pastel set, Inscribe pastel set, Daler Rowney watercolour set, Pentel watercolour tube set, Daler Rowney gouache starter set, Reeves watercolour tube set, Windsor & Newton drawing inks, various sealed packs of crayons and pastels etc, assorted brushes and unused sketch pads, Daler Rowney artists carry box with partially used paints and brushes, boxed unused Chatsworth easel box, boxed Magenti table display easel etc (3 boxes)

GEORGE HEIRON (1929-2001) 'AN LMS IVATT CLASS STEAM LOCOMOTIVE', number 41229 2-6-2 layout, depicted in a train station circa 1950's, signed and dated 1991 bottom left, watercolour / gouache on paper, approximate size 35cm x 53cm, Condition Report: the painting is in good condition, frame marked in places (artist resale rights apply)

GEORGE HEIRON (1929-2001) 'ROYAL SCOT 46237', a Princess Class 4-6-2 steam locomotive depicted in a train station circa 1950's, signed bottom left, watercolour / gouache on paper approximate size 36cm x 53cm, Condition Report: the painting is in good condition, the frame is marked in places (artist resale rights apply)

Artist Unknown (20th Century), watercolour, A Venetian landscape depicting the Piazza San Marco, framed, mounted, and under glass, 13cm x 33cm, & 45cm x 55cm overall, and an oil painting of the same subject matter, indistinctly signed (2)

Artist Unknown (20th Century), watercolour, Woodcock in flight, signed M.A to the lower right, framed, mounted, and under glass, 10cm x 17cm, & 27cm x 35cm overall, another watercolour of a fishing scene, three prints of equestrian subject matter, including 'Elis', after Abraham Cooper RA (1787-1868, British), and a print of a falcon (6)Condition report - The woodcock painting is foxed throughout, but with no other significant or notable issues. It sits securely within its frame and under glass.

L.Powell (20th Century), watercolour, Title Unknown, An army marching towards a castle, signed to the lower right, framed, mounted, and under glass, 60cm x 82cm, & 95cm x 118cm overallCondition report - This lot appears to be in generally good condition. It is a very imposing and well executed watercolour. There are spots of foxing, however, to the sky, and the painting could do with reframing as it is not secure.

Artist Unknown (20th Century), watercolour, A seascape depicting moored fishing boats, framed, mounted, and under glass, measuring 25cm x 36cm, & 43cm x 53cm overall, together with an Artist's Proof, after a painting by Eric Gilboy FRSA (b.1917), entitled 'Evening On The Fells'

H M Calvert - On the Esk, watercolour heightened with white, signed and dated 1882 lower right, 39 x 67cmPainting is in good condition with a couple of marks to the sky.Frame is loose and requires attention.

Circa 1900 school - Insects over a quiet stream, watercolour, 32 x 20cmThere is a fold line just under halfway up the painting.Five marks to the upper half of the painting.One small tear to the upside-down grasshopper.

T. Creswick - A mountain loch scene, watercolour, 25 x 32cmPainting with some browning to sky, otherwise in good condition.Frame and mount are good.

A LARGE ROLL OF JAPANESE MACHINE WOVEN IVORY COLOURED SILK AND A 20TH CENTURY CHINESE SCROLL WATERCOLOUR PAINTING ON SILK. The silk decorated with pavilions, mountains and clouds in silver, gold, yellow and grey threads, the scroll in the Yongcheng style, after Jiang Tingxi, depicting a bird perched on a branch before chrysanthemum, with two red seals and calligraphic inscription, 108cm x 38cm exc. mount Minor wear, but overall in good order.

A CHINESE PORTRAIT PAINTING  the noble lady wearing formal robes, watercolour on piff, 18 x 12cm and a Provincial blue and white jar and cover painted with a river landscape, 19cm high (2) Condition Report:portrait stuck down and cracks to piffjar with rim chips

JAMES AITKEN watercolour - Bude, Cornwall, beach scene with crashing waves, signed, 20 x 30cmsProvenance: private collection CardiffComments: framed and glazed, scratch middle of painting, foxing, spotting/discolouration to lower cloud

Paul Weaver (British, 20th century) Light & Shade, early 21st century Oil on board  Signed bottom left Framed 34 x 23cm (13.5" x 9") Painting depicting Nurthumberland Place, Bath. Paul Weaver is a full-time artist, tutor and demonstrator, based in Bristol, UK. His primary inspirations are light and atmospheric effects. Townscapes, markets and the bustle of the city are favourite subjects, as well as landscape, marine and coastal scenes. He currently specialises in watercolour, but also enjoys working in oil, acrylic and line and wash. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

John Yardley (b. 1943)  Untitled still life with flowers Watercolour on paper Signed in pencil, bottom right Framed & glazed 58 x 40cm (23" x 16") John Yardley was born in 1933 in Yorkshire. For 40 years, he pursued a career in banking while painting in his spare time. It was not until 1986 that he took up painting full time, just after the Alexander Gallery in Bristol discovered his work and started selling it in considerable quantities. He found early inspiration from the works of Edward Seago and Edward Wesson, and under Wesson's mentorship developed his own unique style. John Yardley watercolor paintings for sale cover many subjects, including street scenes, buildings, landscapes, and seascapes. The artist frequently used people going about their daily activities as a focal point of his art. He prefers strong colours, especially burnt umber, French ultramarine, and raw sienna. In 1990, Yardley was elected a member of the Royal Institute of Painters in Water Colours. This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

COURBET GUSTAVE: (1819-1877) French Painter. An innovator who rejected academic convention and leaded the French Realist movement. Courbet was active in politics and was imprisoned in 1871 for his involvement with the Paris Commune, having to live in exile in Switzerland until his death. An excellent content and rare A.L.S., `Gustave Courbet´, two pages, 8vo, Ornans, 15th August, n.y., to Mr, Verveer, in French. Courbet refers in the present letter to four of his well-known paintings Retour de la Conférence, Vénus et Psychée, Les Femmes and one of his masterpieces which brought fame to Courbet L´Enterrement à Ornans (`A Burial at Ornans´). His painting Les Femmes having been refused to be exhibited at the Paris Salon exhibition, Courbet states `Il parait que par souvenir de la Conférence les curés auraient agi de représailles et qu´ils auraient obtenu par l´influence de l´impératrice que soit refusé le tableau de cette année Les Femmes que je vous envoie´ («It seems that by memory of the Conference the priests would have acted in reprisals and that they would have obtained by the influence of the Empress that the painting of this year The Women, which I send to you, be refused ») Courbet further remembers his own actions in Belgium and expects there a different welcome to his works saying `Je me souviens de l´action que j´ai pris à Gand et Bruxelles et à Anvers dans la révolution des libéraux et des catholiques… Je suis en droit de croire que le tableau n´aura pas à Bruxelles le même blâme qu´à l´administration des Beaux-Arts à Paris´ («I remember the action that I took in Ghent and Brussels and in Antwerp during the revolution of the liberals and the Catholics… I have the right to believe that the painting will not have the same blame in Brussels as in the Administration of Fine Arts in Paris »)Before concluding Courbet explains to his correspondent the updated situation of his painting A Burial at Ornans, stating `Quant au tableau de l´enterrement il m´est impossible d´accéder à vos désirs malgré tout mon désir et l´honneur que vous me faites en le désirant. Le cadre est démoli, le chassis a servi, la toile est roulée et en mauvais état par le temps. J´ai donné ordre à mon concierge de délivrer le tableau de Venus et Psychée à Mr. Carpentier et Desforges et de l´avertir qu´il était à sa disposition s´il ne venait pas le chercher avant le temps indiqué par vous. Veuillez m´avertir de ce qui se passsera à propos de ce tableau qui m´intéresse beaucoup´ («As for the burial painting, it is impossible for me to accede to your wishes despite all my wishes and the honour you do me by wishing it. The frame is demolished, the stretcher has resisted, the canvas is rolled up and in poor condition because of the time passing. I instructed my concierge to deliver the painting of Venus and Psychée to Mr. Carpentier and Desforges and to inform him that it was at his disposal if he doesn´t pick it up before the time indicated by you. Please let me know what will happen to this painting as I am very interested in it ») A letter of very interesting artistic and historical content. With blank integral leaf. Small overall age wear and minor creasing. Few extremely small professional repairs to the verso. G Salomon Leonardus Verveer (1813-1876) Dutch Painter, a marine and landscape artist. Verveer was one of the most successful artists of his time. Retour de la Conférence (1862) was a painting by Courbet showing drunk priests. The watercolour was destroyed by fanatics and can only be seen on photographs. Courbet said about this painting `Ce tableau fait rire tout le pays et moi-même en particulier. C'est le tableau plus grotesque qu'on aura jamais vu en peinture. Je n'ose pas vous le dépeindre, seulement c'est un tableau de curés´ ("This painting makes the whole country laugh, and myself in particular. It is the most grotesque painting that we will have ever seen in painting. I dare not depict it to you, only that it is a painting of priests")Courbet refers to Empress Eugénie de Montijo (1826-1920) spouse of Napoléon III. A Burial at Ornans was painted in 1849-50, and is considered one of the major turning points of the French art of the 19th century. Ornans was Courbet´s birthplace and the funeral records his great-uncle funeral. His exhibition at the 1850-51 Paris Salon created an immediate and explosive reaction. The very large scale Painting is displayed at the Musée d´Orsay in Paris. Courbet said `The Burial at Ornans was in fact the burial of Romanticism´. Twenty years later, when Courbet´s political views had changed , he repudiated this work saying that it was `worth nothing´

RAY MAN: (1890-1976) American visual artist, a significant contributor to the Dada and Surrealist movements and a renowned pioneering fashion and portrait photographer. T.L.S., Man Ray, one page, 4to, Paris, 31st January 1962, to Jean. Ray writes in a business-like manner regarding the sales of his works, apologising for writing in English ('in which language I can express myself more shortly') and referring to an agreement he had entered into with his correspondent in 1959, which had led him 'to believe that I would be freed from all matters of keeping accounts and from endless discussions', continuing to rectify several points raised in his correspondent's recent letters, in part, 'Our contract gives you control of world sales, and the exhibitions in New York were arranged with the approval of the Galerie Rive Droite….To date no accounts have been given me of transactions….Among other activities in New York I was responsible for selling a watercolour for $400, as well as some drawings at a good price….In your second letter you say you haven't taken paintings to cover the contract. I have receipts for all the works you have taken which exceed what you have paid me. You admit you haven't paid me the four millions due in 1961. The contract stipulates three millions to be paid over the period…..I cannot go into details here, since you promised to keep accounts for me. Anyhow, your small investment in me has paid off already, I'm sure. And will continue to pay. I have done much more than you in the way of publicity: interviews, radio and television in France and abroad, as well as participating in non-commercial official exhibitions. In 59, before our contract I consigned only the Orateur to Loeb, asking him only 300.00 francs for it. He did not sell it because he probably asked a couple of thousand dollars for it, and I took it back. I sold it to you for 200.00 frs. as an object, although I have always considered it as important as any painting. But I wasn't going to argue with you - I counted on the future. So, the contract is void as from today.' A couple of very light, extremely minor corner creases, VG

Kotah or Bundi School 19th Century A miniature painting of a tiger hunt Ink, opaque watercolour on paper With a large decorative border Property of an academic collector Dimensions

B.McLaughdin signed acrylic painting of coastal scene, acrylic painting of mountain scene signed 'Comby', Ben Rennison (C20th) 'Bainbridge in Winter' watercolour, 5 watercolours signed 'F.Nicholas' and 3 other pictures (11)

Winifred Nicholson (British, 1893-1981)Minoan Goddess acrylic, gouache, chalk and watercolour on paper54 x 79cm (21 1/4 x 31 1/8in).Executed circa 1960-1964Footnotes:ProvenanceSale; Bonhams, Knightsbridge, 15 July 2008, lot 79Sale; Sotheby's, London, 11 November 2009, lot 140, where acquired by the present owner Private Collection, U.K.The present lot was inspired by the Minoan civilisation on the island of Crete. Winifred Nicholson visited Greece regularly throughout the 1960s, often in the company of her daughter Kate. A number of works produced in this period depict the country's landscape and mythology.Nicholson exhibited a number of her Greek myth paintings in an exhibition at the Redfern Gallery, London, in September-October 1964, Winifred Nicholson: Wild Flowers in Greece, including Mother Goddess I and Mother Goddess II, which may refer to the present lot.The present work was almost certainly painted at the same time as Winifred Nicholson's painting, Stranraer Bronze Age Circle (see A. Strang, Winifred Nicholson in Scotland, National Galleries of Scotland, Edinburgh, 2003, p. 20 and A. Nicholson (ed.), Unknown Colour: Paintings, Writings, Letters by Winifred Nicholson, Faber and Faber, London, 1987, p. 205).We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Reginald Brill (British, 1902-1974)Study of Buoys watercolour on paper24 x 34cm (9 7/16 x 13 3/8in).Footnotes:ProvenanceWith The Phoenix Gallery, Lavenham, where acquired by the family of the present owner, circa 1974, and thence by descentPrivate Collection, U.K.'Reginald Brill had quite a distinguished presence – he would now be called charismatic. He was a tall, upright man, who with his beard and air of nonchalance looked the part of the slightly bohemian artist' – Les Duxbury The following collection of works, acquired directly from the retrospective of the artist at Phoenix Gallery in 1974, provide a detailed overview of the artist's unique working methods and conceptual concerns. Described by Judith Bumpus as an English social realist and narrative painter, Brill's work primarily depicts the lives of ordinary people and the landscapes that they inhabit. The Gardener (lot 27), The Stockman (lot 25) and The Working Man (lot 23) showcase this commitment to portraying those who are traditionally overlooked by society. The artist completed his studies at the Slade School of Art between 1920 and 1923 under the tutelage of Henry Tonks, whose commitment to figurative painting can be detected in Brill's work. Reginald Brill's reputation as a painter was cemented when he won a scholarship to the British School of Rome, for the 1927 oil painting The Expulsion in Eden. The following two years in Rome had a lasting impact on Brill's practice. An interest in composition and Renaissance art are evident in Brill's method of producing detailed preparatory drawings prior to executing larger paintings. Lots 17 – 27 include a number of these studies, ranging from the figurative, such as The Gardener (lot 27), to landscapes, such as Study of Buoys and Chains (lot 20). It was also in Rome that Brill developed his characteristic pointilliste or stippled drawing technique, which is most evident in Head Studies (lot 24). Many of the pieces in this collection are keenly observed depictions of Harwich (lots 17-21), a town that is located on the estuaries of the Stour and Orwell rivers. Brill's fascination with Harwich led to the production of a number of preparatory drawings and paintings, in addition to the larger completed oil The Buoys (lot 21). The large oil demonstrates that, although Brill is best known for his figurative works, concerned with depicting working-class people, he was also highly concerned with form and colour. In the words of Judith Bumpus, the buoys at Harwich were 'ready-made still lifes', that were 'a surprising, but perfect, subject for his explorations of colour'. Perhaps best known for his role as Head of Kingston School of Art from 1934 to 1962, recognition of Brill's work faded after his death in comparison to his contemporaries, such as Stanley Spencer, and he is only now beginning to receive the attention that such a varied and influential practice is due. This collection of works offers the opportunity to acquire pieces which have remained in a private collection since Brill's death, on 14 June 1974. Ranging from the deeply personal self-portrait of himself in a library (lot 26), to the compositionally rigorous Study of Buoys and Chains (lot 20), the following lots present a unique opportunity to acquire a work by one of 20th Century Britain's great artists and educators.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Richard Smith (British, 1931-2016)Untitled (diptych) both signed and dated 'R Smith 75' (lower left)pencil and watercolour on folded paper with paperclipsboth 51 x 50cm (20 x 19 3/4 in).(2)Footnotes:ProvenanceThe Artist, from whom acquired by the present owner by 1979Richard Smith's works on paper, which were initially necessary preparatory exercises for his shaped canvases, became increasingly central to his practice in the 1970s and he began to exhibit them in this decade. Smith was entranced by the Japanese craft of origami. Cut, folded, and pinned coloured sheets were assembled to form, combine, and disrupt geometrical hues. The lightness of such works aided Smith in developing his painting practice, as his celebrated aerial 'kite' paintings of the period stemmed from a desire to align his works on canvas with such works on paper.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Full title: Charles Ligny (1812-1889): 'Beek onder struweele', watercolour on paper and François Roffiaen (1820-1898): Walker in a forest, mixed media on paperDescription:Work: ca. 31 x 24 cm Frame: 52,8 x 43,9 cm Ligny was a student at the Art Academy of Mons (Bergen) and president of the 'Societedes aquarellistes'. Ref.: - The work exhibited at the Art Salon in Brussels in 1872 (Charles Ligny, Rue Sans-souci 26, Bruxelles). Work: 31,5 x 23,5 cm Frame: 66,4 x 51,3 cm Jean Francois Xavier Roffiaen (9 August 1820, Ypres, West Flanders - 25 January 1898, Ixelles) was a Belgian landscape painter who specialised in painting Alpine landscapes (link). Provenance: - Ex-collection Gentse Kunstveilingen 'St. John', Auction 19, Lot 1153, hammer price 3.300 BEF.Condition reports and high resolution pictures are available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.comPlease note that external links are available on our website www.coronariauctions.com

Gabriel Carelli (Italian 1821-1900) -  A 19th century Italian watercolour on paper painting depicting a scene in central Gerona. Signed to the lower left. Framed and glazed. Measures approx. 41cm x 32cm.   

FREDERICK JAMES KNOWLES (1874-1931). A rural landscape with mother & child beside a stream, signed: watercolour: 35cm x 26cm, framed & glazed (53cm x 43.5cm over-all – please note there is some moisture developing behind glass, although there is minimal damage to the painting it may require attention).

An early 20th century watercolour painting depicting a farmhouse along a track. The watercolour with a farmer leading two cows in the distance. Framed and glazed. Measures approx. 36cm x 27cm, 53cm x 44cm to include frame.

Watercolour painting. Landscape. Unsigned. Framed and glazed. H.35 W.43 cm.

ROBIN GIBBARD (1930-2014) 'BLEAK OUTLOOK', a Kingfisher is perched on a branch over a frozen pond, signed and dated (19)76 bottom centre, titled bottom left, watercolour on paper, 75cm x 36cm, Condition Report: painting is in good condition, age related wear to the frame (artist resale rights apply)

ROBIN GIBBARD (1930-2014) 'GREENFINCHES AND AZALEAS', two birds in a naturalistic setting, signed and dated (19)72 bottom right, Bull's Eye Gallery label verso, watercolour on paper, approximate size 37cm x 52cm, Condition Report: painting is in good condition, age related wear to the frame (artist resale rights apply)

GILT FRAMED WATERCOLOUR, HIGHLAND LOCH SCENE WITH BOATS & FIGURES, BY WALLER HUGH PATON R.S.A. & FRAMED RETRO OIL PAINTING

Amy E. B. HICKS (1876-1961) September Flowers Watercolour Signed Artist's label to the verso 72cm x 53cm Amy Hicks was born at Devoran in Cornwall, and studied at Truro, Falmouth and Redruth Schools of Art, and in Norman Garstin's studio at Newlyn. Her speciality was flower painting in watercolour, and she also taught art. Hicks was living in Newquay when she exhibited with STISA in 1947, and was still resident in that town in 1961. Her work was shown at the Paris Salon in 1951.This beautiful floral study is in excellent condition with no issues regarding the painting.

Framed watercolour by H Sherwood of a yacht together with framed signed painting with country scene. Frame size of largest 41cm x 57cm

Bernard Schultze. (1915 Schneidemühl - 2005 Köln). der Pfahl. 2000. Aquarell auf Schoellershammer-Velinkarton. 73 x 51 cm. Signiert, datiert und betitelt. - Entlang der Ränder vereinzelt mit Atelierspuren. Insgesamt sehr gut. Gestisch-abstrahierte Arbeit in leuchtenden, klaren Farben. Watercolour on Schoellershammer wove carrdboard. Signed, dated and titled. - A few traces of painting along the margins. Overall very good. Gestural-abstract work in bright, clear colours.

Johannes Geccelli. (1925 Königsberg - 2011 Jühnsdorf). Verlauf Ocker-Rosa. 2003/2004. Acryl über Aquarell auf CMFabriano-Velinkarton (mit WZ). 54,5 x 74 cm. Signiert und datiert. Punktuell auf Unterlage montiert und unter Glas gerahmt (geöffnet). - In sehr gutem Zustand. Die Farben frisch und leuchtend. - Beigegeben: Echtheitszertifikat des Geccelli Estate, Anna Finke, von 2022. - Aus dem Nachlass des Künstlers, seitdem in Privatbesitz. - Johannes Geccelli gewann ab den 1960er Jahren Zugang zur Farbfeldmalerei und war von Künstlern wie Mark Rothko und Barnett Newman beeinflusst. Die anfängliche Figuration in seinen Werken setzte er immer mehr in Bezug zum Bildraum und reduzierte sie schließlich stetig. Ab den 1970er Jahren wurde Geccelli ungegenständlich und ließ die Farbe in ihrer Form und Wirkung zum Bildträger werden. Dafür arbeitete er besonders mit farbchromatischen Abstufungen innerhalb der Bildfläche, die eine außergewöhnliche Tiefenwirkung erzeugen. Auch die vorliegende Arbeit aus dem Spätwerk bleibt diesem Prinzip treu, das er wie folgt erklärte: "Der Maler hat im Gegensatz zur alten Gewohnheit für ihn Wichtigeres erfahren. Er hat erfahren, daß das, was er sieht, Übergänge sind, fließende Grenzen. Er will nicht mehr durch Umgrenzungen zeigen, was für ihn im Grunde grenzenlos ist. Er überläßt es anderen zu sagen: Das ist das und dieses ist jenes. Der Maler malt fließende Übergänge." (Johannes Geccelli 1997, zit. n.: Texte aus dem Atelier, 1997 Ostfildern-Ruit). Acrylic over watercolour on CMFabriano wove cardboard (with watermark). Signed and dated. Spot-mounted to mat and framed under glass (opened). - In very well preserved condition. The colours fresh and bright. - Added: Certificate of authenticity from the Geccelli Estate dated 2022. - From the estate of the artist, since then in private collection. - Impressive work in the style of colour field painting. For his work the artist allowed colour to become the pictorial medium in its form and effect. To achieve this, he worked especially with colour-chromatic gradations within the picture surface which create an extraordinary depth effect.

Spanish School, 20th Century, Moroccan woman in native dress carrying a child on her back, signed and inscribed "Tangier", watercolour, 25.8 x 14.1cm; the companion painting of a woman holding a jug on her head, and a smaller watercolour by the same hand, of a Spanish man and woman by a river, signed and inscribed "Sevilla", 21.3 x 14.2cm. (3)

George Clausen (1852-1944) - Watercolour and pencil - Cottage in an extensive landscape, signed, 11.75ins x 10.5ins, in modern oak frame and glazed Provenance: Essential Fine Art, Weston End Foxearth, Sudbury, Essex Note: By repute the painting was in the collection of the composer and musician Edmund Rubbra See attached Dropbox link

Charles Ricketts (1866 - 1931) - Watercolour - Costume design for "The Three Kings - The Coming of Christ", from a play by John Masefield for the 1928 play at Canterbury Cathedral, with artist's pencil inscription to lower right "To Mrs Bell from C. Ricketts Whitsuntide 1928", 19ins x 13.5ins, framed and glazed Provenance: Donated by the artist to Mrs Bell, wife of Dean Bell, Whitsuntide, 1928, thence gifted to Cannon Ingram Hill by Mrs Bell, and thence to the current vendor circa 2003 The painting and outer slip are heavily discoloured and there is a white shadow around the slip where is has been placed on the paper.  There is some light foxing. On the left hand corner there is an area of paint loss around 1/8th ins diameter. The adhesive on the back of the mount has dropped. When inspected under a UV light there appears to be no areas of obvious damage, loss or restoration and the piece, apart from what has already been mentioned appears to be in relatively good overall condition. 

James Kay (1858-1942, Scottish) Rotterdam canal scene, watercolour on paper, framed, 48x56cm The painting is in very good condition – showing no visible damage or repairs.The frame is in poor condition – showing damage and loss (see picture)

James Russell Cowper Peonies, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I studied and later taught classical drawing and painting in Sweden for several years before returning to the Scottish Borders. Primarily I work in oils with still life, and landscape subjects, but really anything can be interesting and beautiful so I don't like to limit my options. Education The Swedish Academy of Realist Art, Sweden Select Exhibitions/Awards Has exhibited in England, Scotland, Ireland, Sweden, Norway, Netherlands, Germany Gallery Representation Lime Tree Gallery, Bristol. Webbs Gallery, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

James Russell Cowper Kelpie, 2023 Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I studied and later taught classical drawing and painting in Sweden for several years before returning to the Scottish Borders. Primarily I work in oils with still life, and landscape subjects, but really anything can be interesting and beautiful so I don't like to limit my options. Education The Swedish Academy of Realist Art, Sweden Select Exhibitions/Awards Has exhibited in England, Scotland, Ireland, Sweden, Norway, Netherlands, Germany Gallery Representation Lime Tree Gallery, Bristol. Webbs Gallery, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

James Russell Cowper Thingvellir, Iceland Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I studied and later taught classical drawing and painting in Sweden for several years before returning to the Scottish Borders. Primarily I work in oils with still life, and landscape subjects, but really anything can be interesting and beautiful so I don't like to limit my options. Education The Swedish Academy of Realist Art, Sweden Select Exhibitions/Awards Has exhibited in England, Scotland, Ireland, Sweden, Norway, Netherlands, Germany Gallery Representation Lime Tree Gallery, Bristol. Webbs Gallery, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

James Russell Cowper Eastern Daydream Watercolour on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About I studied and later taught classical drawing and painting in Sweden for several years before returning to the Scottish Borders. Primarily I work in oils with still life, and landscape subjects, but really anything can be interesting and beautiful so I don't like to limit my options. Education The Swedish Academy of Realist Art, Sweden Select Exhibitions/Awards Has exhibited in England, Scotland, Ireland, Sweden, Norway, Netherlands, Germany Gallery Representation Lime Tree Gallery, Bristol. Webbs Gallery, London   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

R&F Mo I Saw You in the Park, 2023 Watercolour and gouache on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Exploring narratives that connect the seen the sensed and the dreamed is central to R&F Mo's works focusing on ambiguity and places where relations between human and creature kind are performed. Mo works with processes of drawing and painting to conjure a scene resonating myth, folklore and fairy-tale. Rather than holding to a fixed preconceived concept Mo finds the way in the moment of making, keeping the process alive, while also allowing the unconscious, memory, and imagination to come into play. Education MA RCA/MFA CSM/PhD UAL Select Exhibitions/Awards RA Summer show (21/22/23) Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Great cause, very happy to contribute.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

R&F Mo Boy and Friend Watercolour and gouache on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Exploring narratives that connect the seen the sensed and the dreamed is central to R&F Mo's works focusing on ambiguity and places where relations between human and creature kind are performed. Mo works with processes of drawing and painting to conjure a scene resonating myth, folklore and fairy-tale. Rather than holding to a fixed preconceived concept Mo finds the way in the moment of making, keeping the process alive, while also allowing the unconscious, memory, and imagination to come into play. Education MA RCA/MFA CSM/PhD UAL Select Exhibitions/Awards RA Summer show (21/22/23) Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Great cause, very happy to contribute.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

R&F Mo Love Bunny, 2023 Watercolour and gouache on card Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Exploring narratives that connect the seen the sensed and the dreamed is central to R&F Mo's works focusing on ambiguity and places where relations between human and creature kind are performed. Mo works with processes of drawing and painting to conjure a scene resonating myth, folklore and fairy-tale. Rather than holding to a fixed preconceived concept Mo finds the way in the moment of making, keeping the process alive, while also allowing the unconscious, memory, and imagination to come into play. Education MA RCA/MFA CSM/PhD UAL Select Exhibitions/Awards RA Summer show (21/22/23) Gallery Representation Oliver Projects London Statement about AOAP Submitted Artwork Great cause, very happy to contribute.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Gertie Young RWS Air Berlin Collage, gouache and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.)   This lot has been curated by AOAP About Gertie was born in Nottingham and moved to London in 1968 to study at Hornsey School of Art. Over the years she continued to paint, filling sketchbooks and always searching for her own visual language. She takes her subjects from surrounding life - holidays, household objects, walking or gardening. Gertie has firmly established her position as an artist in the UK, having participated in a variety of National competitions and exhibitions such as: the Royal Academy's Summer Exhibition, the National Open Art competition, the RWS' Contemporary Watercolour Competition, the Society of Women Artists Annual Exhibition, the Sunday Times Watercolour competition, the New English Art Club exhibition, the Royal Society of British Artists exhibition, the Royal Institute of painters in watercolour exhibition and the Royal Watercolour Society where, after becoming a member she also became the society treasurer. Her paintings can be found in private collections in the USA, Oman, Germany, France and Spain as well as here in the UK. Each of Gertie's paintings is like a little journey that makes its way out into the unknown. The images that arise are based on a mixture of observation, emotional memory and imagination. Ultimately her pieces often deal with the meeting of opposites: whether near or far, natural or man-made, mundane or celestial, personal or global. Fairy stories, poems, dreams, imaginary or real objects and places provide her with a constant stream of ideas. Gertie spends most of her time pushing back reality. Education Hornsey Art College Select Exhibitions/Awards Memberships include: Member of the Royal Watercolour Society Awards include: Contemporary watercolour competition Seawhite award winner, National Open Art competition winner, Sunday Times watercolour competition winner, Julian Barrow award Exhibitions include: Chelsea Art society, Royal Institute of painters in watercolour, New English Art Club, Royal Society of British Artists, Mall Galleries, RA Summer Exhibition Gallery Representation Bankside Gallery, London Statement about AOAP Submitted Artwork My pieces often deal with the conjunction of opposites; whether near or far, natural or man-made, mundane or celestial. Each painting is like a little journey into the unknown. They are unplanned and assemble themselves as I paint.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Gertie Young RWS Fly Dubai Gouache and pencil on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Gertie was born in Nottingham and moved to London in 1968 to study at Hornsey School of Art. Over the years she continued to paint, filling sketchbooks and always searching for her own visual language. She takes her subjects from surrounding life - holidays, household objects, walking or gardening. Gertie has firmly established her position as an artist in the UK, having participated in a variety of National competitions and exhibitions such as: the Royal Academy's Summer Exhibition, the National Open Art competition, the RWS' Contemporary Watercolour Competition, the Society of Women Artists Annual Exhibition, the Sunday Times Watercolour competition, the New English Art Club exhibition, the Royal Society of British Artists exhibition, the Royal Institute of painters in watercolour exhibition and the Royal Watercolour Society where, after becoming a member she also became the society treasurer. Her paintings can be found in private collections in the USA, Oman, Germany, France and Spain as well as here in the UK. Each of Gertie's paintings is like a little journey that makes its way out into the unknown. The images that arise are based on a mixture of observation, emotional memory and imagination. Ultimately her pieces often deal with the meeting of opposites: whether near or far, natural or man-made, mundane or celestial, personal or global. Fairy stories, poems, dreams, imaginary or real objects and places provide her with a constant stream of ideas. Gertie spends most of her time pushing back reality. Education Hornsey Art College Select Exhibitions/Awards Memberships include: Member of the Royal Watercolour Society Awards include: Contemporary watercolour competition Seawhite award winner, National Open Art competition winner, Sunday Times watercolour competition winner, Julian Barrow award Exhibitions include: Chelsea Art society, Royal Institute of painters in watercolour, New English Art Club, Royal Society of British Artists, Mall Galleries, RA Summer Exhibition Gallery Representation Bankside Gallery, London Statement about AOAP Submitted Artwork My pieces often deal with the conjunction of opposites; whether near or far, natural or man-made, mundane or celestial. Each painting is like a little journey into the unknown. They are unplanned and assemble themselves as I paint.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.  

Gertie Young RWS Chalkhill Blue Pencil, gouache, collage and sweet papers on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) This lot has been curated by AOAP About Gertie was born in Nottingham and moved to London in 1968 to study at Hornsey School of Art. Over the years she continued to paint, filling sketchbooks and always searching for her own visual language. She takes her subjects from surrounding life - holidays, household objects, walking or gardening. Gertie has firmly established her position as an artist in the UK, having participated in a variety of National competitions and exhibitions such as: the Royal Academy's Summer Exhibition, the National Open Art competition, the RWS' Contemporary Watercolour Competition, the Society of Women Artists Annual Exhibition, the Sunday Times Watercolour competition, the New English Art Club exhibition, the Royal Society of British Artists exhibition, the Royal Institute of painters in watercolour exhibition and the Royal Watercolour Society where, after becoming a member she also became the society treasurer. Her paintings can be found in private collections in the USA, Oman, Germany, France and Spain as well as here in the UK. Each of Gertie's paintings is like a little journey that makes its way out into the unknown. The images that arise are based on a mixture of observation, emotional memory and imagination. Ultimately her pieces often deal with the meeting of opposites: whether near or far, natural or man-made, mundane or celestial, personal or global. Fairy stories, poems, dreams, imaginary or real objects and places provide her with a constant stream of ideas. Gertie spends most of her time pushing back reality. Education Hornsey Art College Select Exhibitions/Awards Memberships include: Member of the Royal Watercolour Society Awards include: Contemporary watercolour competition Seawhite award winner, National Open Art competition winner, Sunday Times watercolour competition winner, Julian Barrow award Exhibitions include: Chelsea Art society, Royal Institute of painters in watercolour, New English Art Club, Royal Society of British Artists, Mall Galleries, RA Summer Exhibition Gallery Representation Bankside Gallery, London Statement about AOAP Submitted Artwork My pieces often deal with the conjunction of opposites; whether near or far, natural or man-made, mundane or celestial. Each painting is like a little journey into the unknown. They are unplanned and assemble themselves as I paint.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists, and directly jeopardise the charitable work we do.