We found 11513 price guide item(s) matching your search

JOHN SILVER (BRITISH - CONTEMPORARY), 'Jailhouse Rock', a limited edition print 6/395 of a group of dogs behind a fence, signed and numbered in pencil, with certificate, mounted, unframed, approximate size 33cm x 75cm (condition:- As new) and Paul Adams (British Contemporary), 'Kinver, The Vine', a watercolour painting of a public house beside a canal, signed lower left, mounted and framed, approximate size 25cm x 35cm (condition:- Some marks to the frame) (2)

ROBERT W TANTAU (AUSTRALIAN - CONTEMPORARY), a watercolour painting of a lake in a valley, signed lower right, mounted, framed and glazed, approximate size 33cm x 43cm (condition:- The painting is in great condition, some marks to the frame)

A 19th Century Chinese watercolour, depicting an elder sage, signed with chop mark to bottom left 32 cm x 20 cmBelieved to be a painting. Multiple small damp spots. Some creases to paper. Slight pitting and crackling to areas of the paint. Colours still distinct. No apparent restoration.

C. J. Fox, Summer landscape, signed, oil on canvas, 43 x 53cm, another oil painting, a watercolour and three prints, (5).

Gilt framed watercolour, maritime scene, attributed on frame to T. B. Hardy, together with a gouache painting of Thames barges at sea

A watercolour, W F Mikheal, Lake scene with ruins, signed, 9.5in x 13in and an oil painting oval Lake scene 9.5in x 13in

An oil painting, Venice Grand Canal, indistinctly signed, 15.5in x 19in, a watercolour, Priedames, Christmas Chalet, signed and Xmas 1889, 10in x 18in

Edmund (Edward) P. Holt (Scottish, 1815-1892), Old Malabar and Charley Napier, each signed lower right and inscribed with the title, watercolours, in period reeded ebonised frames. Each 43cm by 28cm. (2) Note: Edmund or Edward Holt (also commonly known as Ned Holt), was a caricaturist painting colourful Scottish characters in watercolour. Little of his work survives although an album of 49 sketches is held in Edinburgh Central Library. He was also a well known Edinburgh showman and actor, hence his interest in street entertainers. Old Malabar was one of Glasgow's most colourful entertainers. He was apprenticed to a Chinese juggler. As the subject lot he was always dressed in a version of Oriental costume and one of his best known tricks was to toss a heavy ball and caught it in a leather cup attached to his head.

Edward Raymond Payne ARCA (1906-1991) ''Wall Painting - Caves at Lascaux'' Signed and dated 1957, pencil and watercolour, together with a further example by the artist depicting the same subject, 24.5cm by 34.5cm (2) Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

A Chinese watercolour scroll painting depicting a cockerel amongst foliage, signed and with seal mark, together with two others (3)

EUROPEAN SCHOOL A miniature portrait of a boy in a blue suit, watercolour painting, oval mounted within a brass, tortoiseshell and mother of pearl decorative frame, image size 5cm x 3.5cm

EUROPEAN SCHOOL A miniature portrait of a young woman of fashion, Watercolour painting, oval mounted within a boulle frame, with mother of pearl border, images size 5cm x 4cm

Albert Ernest Brockbank (1862 -1958): A watercolour painting of a country village house by river and bridge with woman washing clothes having futher houses and church to the background. Signed to corner, framed and glazed. Measures 75cms x 59cms

Harold Gresley (British) (1892-1967), Watercolour painting entitled ' A Welsh Road Near Snowden '  signed lower left being framed and glazed. Gallery label verso with details - Aldridge Bros - THe Little Gallery, Worthing. Measures 64cm x 52cm.

Sir Kyffin Williams, Watercolour View Of Rachub Village Above Bethesda, Initialled In Pencil, 9" X 15" Accompanied By A Handwritten Letter From Kyffin With Information About The Painting

James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the “National Exhibition of the Arts, Manufactures, and Products of Ireland” held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson’s Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled “The Atheneaeum”, it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony’s watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the “Cork Society for Promoting the Fine Arts” and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary’s on Pope’s Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840’s. These harrowing images influenced public opinion, and helped changed the British government’s official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray, April 2018

A group of four pictures to include a signed, limited edition print, an oil painting of a bull at rest, signed A Marshall, Jean A Smith - Queen's Head at Little Marlow, watercolour and two frigates at sea, signed oil painting

A Chinese watercolour painting, by Lou Zhongguo, with a water village in green,37.5 x 52.5cm, and another, of a building by a river, 35 x 50cm, both framed and glazed (2)

A coloured exhibition poster from the Metropolitan Museum of Art exhibition impressionist to early modern painting from the USSR, 1986 - Gold Fish after Matisse, 100 x 57cm in silver coloured aluminium frame, together with a watercolour and bodycolour study of hounds, signed J Robertson, dated 92, 19 x 28cm in gilt frame and three others (5)

An early 20th century watercolour and body colour painting by J Jackson Curnock of a winding pathway with female figure and donkey, signed bottom right with label verso The Road from the Moor - Dolwyddelau, artist Clifton address details, 55 x 44 cm in gilt frame

An oil painting on board of an orchard with daffodils, signed bottom right SA Neal, 50 x 60cm in gilt frame, together with a further oil painting on board of a figures in a sailing boat, a watercolour of London Bridge, signed RP Hutchinson, dated 71, etc

An extensive collection of pictures and prints including oil painting on board in the abstract manner of sailing yachts, a pair of coloured prints after Bjorn Wiinblad, various watercolour landscapes, a pair of oil painting on board of still lives with fruit, etc

A watercolour and bodycolour painting of a mountainous landscape with fishermen signed Coad, an oil painting on canvas of a woodland scene with figures, further oil paintings including a harbour scene, a study of dahlias, a portrait after Vermeer, etc, various sizes, all framed

William Percy French (1854-1920) BOG LANDSCAPE WITH TURF STACKS watercolour signed lower left 10.25 by 17.25in. (26 by 43.8cm) Presented in the original pokerwork frame with Celtic interlaced knot design. A number of French's watercolours were effectively framed by the Arts and Crafts workshop known first as the Belfast School of Poker-Work and then as the Irish Decorative Art Association, run by Eta Lowry and Mina Robinson and their team of women in Belfast. By 1900 specialising in Celtic interlaced pokerwork patterns, their frequently exhibited work showed their application of "the ancient Celtic ornament to all the articles of use and beauty which furnish the modern home". Larmour records that in 1904 almost all Percy French's paintings were exhibited with pokerwork frames decorated by the Association at its annual summer show in Portrush, Co. Antrim. (1) Some of these were intricately delineated on the timber frame with competently rhythmic, inventive knotwork, ably balanced on all four sides with modulating triple spirals to denote a change of design in the middle of each side. These small circular devices recall the triskel, one of the main emblems of Celtic triadic paganism, perhaps symbolising, appropriately, the three realms of land, sea and sky. They may be seen in somewhat fish-like forms, along with small interlaced crosses in the fine frame which French chose to set off the 1902 watercolour he painted to illustrate his immortal words, "Where Ever I go my heart turns back to the County Mayo" (sold by Whyte's in September 2005, lot 66) from the collection of Rupert Guinness, 2nd Earl of Iveagh.(2) Born at home in Cloonyquin House, near Tulsk in County Roscommon, Percy French was from early childhood introduced to the literary world through an extensive family library maintained by his father and through private home tutorage. Theirs was a close knit family and the children's literary aspirations were encouraged in the form of their own family magazine called The Tulsk Morning Howl in which Percy's contributions of poetry, stories and drawing dominated. After entering prep school in England in 1864 and subsequently the Foyle College Belfast, French entered Trinity College, Dublin, 1872 to commence, what was to take eight years to complete, a Degree in Civil Engineering. Unable to detach himself from his instinctive artistic nature, and an inherent disinterest in politics and 'men's matters', French's experiences at Trinity were recapitulated by the artist as follows: "…I think taking the banjo, lawn tennis and watercolour painting instead of chemistry, geology and the theory of strains must have retarded my progress a great deal. But I was eventually allowed to take out my C.E. They were obviously afraid that if I stayed at Trinity any longer I might apply for a pension…" Although ceaseless in his artistic pursuits, French persevered with engineering and in 1883 was appointed Chief Engineer by the Board Works, Cavan, a position he referred to as "Inspector of Drains". Several of his finest Irish landscapes were painted during this period spent in County Cavan. 1888-90 were very significant years for French: his Engineering post had come to an unexpected end and he was to return to the realm of the arts. Appointed editor of The Jarvey comic magazine French was introduced to one of its illustrators whom he quickly fell in love with and later married. His relationship with Ms Ettie Armitage Moore, also a gifted artist, had a profound impact on the artist who suffered greatly upon her untimely death just one year later. In terms of his artistic movements at this time French was listed as a 'working member' of the Dublin Sketching Club, and between 1891 and 1901 he exhibited twenty-four works at the Royal Hibernian Academy. In 1894 he married Helen May Sheldon, a school friend from Warkwickshire, and relocated to 35 Mespil Road, Dublin and later to London. These years saw the artist concentrate on his career as an entertainer, touring widely across Ireland and Britain with his performances garnering him immense success and recognition. In the early years of the 1900s French was exhibiting with the Watercolour Society of Ireland (1905) and the following year in London at the New Dudley Gallery, Piccadilly and the Modern Gallery, Bond Street. On the back of these highly celebrated shows he attracted the attention of the Royal Family who later became his loyal patrons. The Royal Library of Windsor displays a drawing of Queen Victoria's procession entering Phoenix Park. Having played sell-out shows across Ireland and Britain the career of Percy French as an entertainer reached its peak in 1910 when he toured Western Europe, Canada, U.S.A. and the West Indies. His paintings from this period were never brought back to Ireland but were sold while abroad or donated to charities. In contrast, his expeditions to Switzerland in 1913 produced numerous sketches of the Alps and surrounding countryside many of which returned to Ireland and were later exhibited. During 1914-1918 French supported the war effort through staged charity concerts and performances for the troops both in England and France. He continued these theatrical pursuits up until 1920 until his ailing health restricted his movements. Connemara at this point served as a place of convalescence both physical and emotional. Here the artist's poetic and painterly interpretations of life and landscapes fused: "Down by the Lough I shall wander once more, Where the wavelets lap lap round the stones on the shore; And the mountainy goats will be wagging their chins As they pull at the bracken among the twelve pins." The Islands of Aran, Sweet Lavender... In the Studio - "Once more I paint from memory The hills of Donegal, And as they raise - ma Gramachree! In fancy I recall...." ....And when I paint the sparkling tide That flows by Slievenaree, I would the boat again might glide Across the summer sea" Although he died at the premature age of sixty-six, his work as both an artist and popular entertainer are commemorated variously. The Percy French Society, formed in the 1980s, houses a collection of some eighty watercolours by French on permanent display in the North Down Heritage Centre. His Roscommon home, which he called, "a haunt of ancient peace" (3) , commemorates the artist with a monument where the house once was. Footnotes: 1 Paul Larmour, 'The Irish Decorative Art Association', The Arts and Crafts Movement in Ireland (Belfast 1992). 2 Extract from a note by the late Nicola Gordon Bowe for Whyte's 28 September 2009 lot 71. 3 Nulty, Oliver, Lead Kindly Light, 35 Years of Percy French at the Oriel Gallery - A Millennium Retrospective, The Oriel Gallery, Dublin, 2002, p. 45.

Michael Cullen RHA (b.1946) STUDY: THE ANATOMY OF DR. NICOLAES TULP AFTER REMBRANDT, 1998 watercolour signed lower right; signed, titled and dated on reverse 27.50 by 41in. (69.9 by 104.1cm) Michael Cullen was born in Kilcoole, Co. Wicklow and studied art at the Central School of Art and Design, London in 1969 and NCAD from 1970 to 1973 before moving abroad for several years. Cullen's work has an underlying autobiographical aspect that sees him referring both himself and his work to such masters as Velásquez and Picasso. With his multicoloured carnival palette, Cullen's paintings and prints reveal the influence of time spent in Mexico, Spain and Morocco that adds a festive air to proceedings. The profusion of bright, clean colour is emphasised by accents of brilliant white, and Cullen's work often includes imagery of cowboys, still lives, bullfighters and infantas. Michael Cullen was awarded the Independent Artists' Major Painting Award in 1984 and the National Portrait Award in 1989. He has been the recipient of several Arts Council bursaries is also an elected member of Aosdána. Cullen has shown his work extensively throughout Ireland, with solo exhibitions at the Fenderesky Gallery, Belfast; Cavanacor Gallery, Donegal; Vangard Gallery, Cork; and Triskel Arts Centre, Cork; as well as Temple Bar Gallery, the Graphic Gallery and Project Arts Centre, Dublin. Cullen's work is included in private collections throughout the country and is also represented in the public collections of the National Gallery of Ireland, Dublin City Gallery The Hugh Lane, the Arts Council of Northern Ireland and Dundee Contemporary Arts Society, Scotland, amongst others. (from www.taylorgalleries.com) Cullen's most recent solo exhibition with the Taylor Galleries, Dublin - Tír na nÓg - took place from 13 April to 5 May 2018.

Eóin O'Connor (b.1973) TREES WITH CABIN watercolour 22 by 20in. (55.9 by 50.8cm) Born in Dublin, O'Connor studied at NCAD obtaining a 1st Class Honours from the painting department in 2003. He was awarded prestigious residencies including at the Lassallian International Art Culture Centre, Vicchio, Florence. His work covers an array of media including painting, sculpture and photography and reflects ideas relating to the urban environment of architecture, planning and area regeneration. "Self-contained universes, they appear nostalgic and tranquil, yet in reality are symbols of an unrealistic ideal..." O'Connor has said of his work for the CAP Foundation Award which is received in 2003.

Eóin O'Connor (b.1973) TREES watercolour 24.50 by 21.75in. (62.2 by 55.2cm) Born in Dublin, O'Connor studied at NCAD obtaining a 1st Class Honours from the painting department in 2003. He was awarded prestigious residencies including at the Lassallian International Art Culture Centre, Vicchio, Florence. His work covers an array of media including painting, sculpture and photography and reflects ideas relating to the urban environment of architecture, planning and area regeneration. "Self-contained universes, they appear nostalgic and tranquil, yet in reality are symbols of an unrealistic ideal..." O'Connor has said of his work for the CAP Foundation Award which is received in 2003.

Caitriona Moore (b.1981) UNTITLED pencil and watercolour 21.75 by 29.75in. (55.2 by 75.6cm) Born in Dublin, Moore graduated from NCAD in 2003 with a BA (Hons) in Fine Art Painting. In 2001 she was awarded a scholarship to Rhode Island School of Design in the United States. Moore works as an illustrator and art teacher. "I enjoy twisting the line between fairy-tale fantastic (fiction) and the domestic, mundane everyday (reality) truth", says Moore. Her images "… draw mainly on themes of socialisation, moral fables and myths, the use of the narrative and the storytelling tradition…". Moore was the recipient of the CAP Foundation award in 2003.

Caitriona Moore (b.1981) I DON'T KNOW WHY HE CALLED ME A GERMAN SAUSAGE charcoal, watercolour and collage 16.50 by 23.50in. (41.9 by 59.7cm) Born in Dublin, Moore graduated from NCAD in 2003 with a BA (Hons) in Fine Art Painting. In 2001 she was awarded a scholarship to Rhode Island School of Design in the United States. Moore works as an illustrator and art teacher. "I enjoy twisting the line between fairy-tale fantastic (fiction) and the domestic, mundane everyday (reality) truth", says Moore. Her images "… draw mainly on themes of socialisation, moral fables and myths, the use of the narrative and the storytelling tradition…". Moore was the recipient of the CAP Foundation award in 2003.

Ciara Moore (b.1966) BIRDS OF A FEATHER watercolour titled on exhibition label on reverse 8 by 12in. (20.3 by 30.5cm) Moore is an Irish artist living in Los Angeles. In 2000 she graduated with a BA in painting from NCAD and received her MA in Art in the Contemporary World in NCAD in 2007. She develops her work by investigating behaviours, events and philosophical concepts, "The distinction between us and all the other little creatures around us has become a fascinating area of exploration for me", Moore has said of her work for the CAP Foundation Award which we received in 2000. She has exhibited internationally and received a number of awards including artist's residencies in Tasmania, Sydney and Melbourne Australia, Greece, Brazil and Scotland. Selected exhibitions include Plimsoll Gallery Hobart, Australia, Crawford Municipal Gallery, Cork, Truck Gallery, Calgary and Xuhui Arts Museum, Shanghai.

Harry Kernoff RHA (1900-1974) SILVER BIRCHES, PHOENIX PARK, DUBLIN [OVERLOOKING THE LIFFEY VALLEY] 1933 watercolour signed and dated lower left; titled and with artist's name, address [Stamer Street] and price [£15-15-0] on reverse 9 by 12.50in. (22.9 by 31.8cm) Acquired directly from the artist by Jack Segal; Thence by family descent The present scene includes the artist seated at his easel painting. This collection of the works of Harry Kernoff, including some important archival material, was formed by members of the Segal family in Dublin. Reuben Segal set up in business as a manufacturing jeweller in Belfast in the early 20th century. After World War I he moved the business to Dublin and, trading as the Jewellery & Metal Manufacturing Company, became the largest manufacturer of metal badges, medals and trophies in Ireland. Reuben died in 1956 and his son, Jack (Jacob), succeeded him. The Segals were famous for their medals such as those for the 1916 Rising and War of Independence, The Tailteann Games 1924-1926, the GAA All-Ireland and other sporting events. They were the largest producers of metal badges - for Government including the Post Office and Defence Forces, as well as many commercial enterprises, all proudly made entirely in Ireland. Jack Segal, whose early ambition was to be an architect, was a competent designer and used that skill in his business. He had a keen interest in art and was a good friend and patron of Harry Kernoff. Jack Segal died in 1987.

Henry George Moon (1857-1903), watercolour, Coppiced trees, signed and dated 1883 and a framed photograph of the artist painting (2)

A Chinese hanging watercolour scroll on paper within silkwork border. Depicting a cockerel in a landscape with flowers and having poem inscription and seal marks in red, painting 1m 34cm x 67cm. Condition Report. To be used as a guide only. Good condition. Some minor staining.

60th Royal American Regiment Reginald Weimar Watercolour. This detailed study depicts a Drummer boy of the Regiment Circa 1780. He is shown standing to attention, wearing drummer pattern coat and bearskin mitre cap. In the background can be seen the Regimental encampment. Mounted into a glazed frame. Overall Size 20 x 26 inches. Minor damage to frame. Painting retains good colour.

Early 20th century Japanese School, mixed media watercolour/silk embroidered scroll painting, 3 birds on a branch, main panel 50" x 19.5", in original pine presentation case dated 1927.

Tom Dodson (1910 - 1991) Original Mixed Media Watercolour On Paper Titled ' The Lesson ' Signed and Titled. Mounted and Framed Behind Glass. Painting Size Only - 9.25 x 7 Inches.

English 19th Century Watercolour - A View From Patterdale / Westmoreland Lake District, Summers Day ' Ullswater ' Figures / Boats / Sheep / Mount Longmire In Distance. Date 1879. Watercolour. Titled and Dated 1879, Mounted and Framed Behind Glass. Painting Size 8.25 x 14.75 Inches. Providence - Barronfield, Kelvin Hall, Glasgow.

A group of four pictures to include a signed, limited edition print, an oil painting of a bull at rest, signed A Marshall, Jean A Smith - Queen's Head at Little Marlow, watercolour and two frigates at sea, signed oil painting

W** Robinson (contemporary)Bride and Groomsigned in pencil, label to verso Mr W Robinson Loughborough College of Art, 1981, 33.5cm x 41cmNorman Pett (1891 - 1960)Janeink, label to verso, From the John Kirton Collection, Bought From Chris Beetles Ltd, 11cm x 8cmPolly Rockberger (b.1950)A Holiday Drinksigned, mixed medium, 30cm x 36cmAtelier HartmannStargazer Lilysigned, watercolour and gouache, 29cm x 26cm; another, Fairies in a Forest, painting on silk, 31cm x 29cm (5)

A Chinese watercolour scroll painting depicting a Hindu Goddess, text inscription and seal, main panel 128cm x 65cm.

An oil painting of a Dunster Watermill snow scene by Snape, another of a Dartmoor scene by Widgery and a watercolour of a Chinese junk Chinese junk painting in good condition, minor foxing to lower section of painting, actual frame has a chip to gilt edge

George Henry Edwards, 1883 - 1911, England, A Hand Painted Envelope in Watercolour depicting a Jester Painting addressed to E. Henry Edwards, 4 Unity Street, Bristol, the stamp dated 1896, 12 x 9.5 cms

Unattributed (19th century British school) Watercolour Copy of Hans Holbein's painting of Sir Thomas More and his family, 23cm x 30cm

A 19th century Chinese watercolour painting on pith paper depicting huntsmen

A large, original watercolour painting by American artist Zara Elwood, pencil titled to reverse 'Bird of Paradise', mounted in carved wood frame.Approx 74x95cm

A 20thC signed Chinese watercolour scroll painting, depicting yellow gourds hanging from a tree with three grasshoppers in attendance, image size 52” x 26”. SEE ILLUSTRATION

C David Johnston (20th century) Pheasant standing in vegetation, signed and dated 1973, watercolour heightened with white, together with a companion painting by the same hand (2)

W.Leslie Rackham watercolour 'At Belaugh' plus other pictures including an Indian painting on mica

Oil painting - Egyptian scene, together with a watercolour - Cathedral scene

Chinese School, 19th century, skewbald horse in a landscape, watercolour and gouache, 80 x 37.5cm; together with  another painting of a horse. (2)

*Batchelor (John, born 1936). Hawker Fury I in flight, registration K5673, circa 1990, watercolour and gouache on board, signed lower right, 37 x 53cm, together with an original painting of a Tiger Moth in flight, registration G-AMHF, watercolour and gouache on paper, signed and dated by the artist lower right D.J. Scammell, 66, 32 x 48cm, pasted on board, plus an unfinished painting of three airborne US aircraft by Stanley Orton Bradshaw (1903-1950), oil on board, signed and dated 1945 lower left, 35 x 46cm (3)

Attributed to Thomas Churchyard (British 1798-1865), "Woodbridge Abbey", watercolour on paper, mounted framed and glazed, gallery label verso, image 19 cm x 28.5 cm, together with two volumes on the artist, Morfey (Wallace), Painting the Day, Thomas Churchyard of Woodbridge, 1986, 1st edition, The Boydell Press, dust wrapper, and an exhibition and sale catalogue. (3)

A watercolour painting of a pheasant, signed bottom right, together with a painting of a Kazakh and pheasant. (2)

A watercolour/goache painting by Wilfred Ball, stormy sky by rock pool, signed LRH

Chinese School (20th century)Figures on a Bridgered seal stamp, watercolour scroll painting, 134cm x 67cm

E MAC CANDLESS, Two Ducks "Feathered Friends", Watercolour, signed, 6" (15cms) x 9" (23cms); GUY HALL, Oil Painting "Paying the Man", 12" (31cms) x 10" (25cms) and a Watercolour by Guy Hall of the Boxing Day Meet at Corbridge.

CAROL HILL SWA RBSA (BRITISH CONTEMPORARY), a watercolour painting of the sea swirling around rocks, signed by the artist lower right, mounted, framed and glazed, approximate size 22cm x 27cm (condition:- No obvious damage to the images or frames), together with a Peter Leeming photographic print of a landscape scene titled 'In the Flow, Isle of Skye', 7/50, signed in pencil, approximate size 15cm x 41cm (2)

KENNETH LEECH (BRITISH CONTEMPORARY) 'AUGUST HARMONY', a limited edition print 67/95 of a harvest scene, signed, titled and numbered in pencil, framed and glazed, 34cm x 40cm, together with a Judy Boyes limited edition print 257/850 of a lakeland parlour, signed, 26cm x 39cm and a Cameron Street watercolour painting of trees surrounding a lake, signed lower left, 26cm x 35cm (3)

A VICTORIAN COLOURED PRINT OF 'MR FRANKLIN DRESSED AS HEATHCOAT THE PIRATE', hand embellished details, framed and glazed, approximate size 25cm x 20cm, together with a comical watercolour of a bull charging an artist in a field, initialled JR?, glazed and framed, approximate size 16cm x 21cm and a watercolour painting by Edna Cavill of the contents of a house sale, glazed and framed, approximate size 17cm x 23cm (3)

GRAHAM CARVER (BRITISH CONTEMPORARY) 'COTTAGES AT BIBURY, COTSWOLDS', a watercolour painting of country cottages, signed lower right, mounted, framed and glazed, approximate size 28cm x 60cm (condition:- Painting ia as new, some paint loss to the frame)