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

Pair of Watercolour Painting of Indian Cavalry Interest. These two full length portraits depict an Officer of the 1st Bengal Lancers and the 18th Cavalry. Both Officer wear full dress uniform. Signed Cedric. Original ebonized glazed frames. Overa;ll size. 8 1/2 x 11 inches. Colours bright.

S.SWANNELL, 'ORANGE FLOWERS', an original watercolour painting, signed by the artist, double mounted and framed, 67cm x 43cm

HOWE BENNETT, 'THE CASTLE', an original watercolour painting, signed by the artist, mounted and framed, 44cm x 30cm

HOWE BENNETT, 'AFTER THE FLOOD', an original watercolour painting, signed by the artist, double mounted and framed, 42cm x 30cm

PAUL ADAMS, 'LATE AUTUMN ON THE WINDRUSH', an original watercolour painting, mounted and framed, image has moved in the mount, 54cm x 35cm

MAUREEN RIBBONS, 'LILY', a watercolour painting signed by the artist, framed and mounted, 31cm x 25cm

BERNADETTE OWEN, 'FLOWER STUDY', an original watercolour painting, signed by the artist, mounted not framed 35cm x 25cm

PAUL ADAMS, 'THE ESTUARY' an original watercolour painting, signed and dated 01 by the artist, mounted and framed 35cm x 25cm

Harold Sutton Palmer, RBARI 1854-1953, watercolour, Jackson's Bank, Balderston, Lancs, signed LL, 52 cm x 35 cm, Chris Beetles label versoSlight spots of discolouration in the river and sky on the top right and upper left of the picture. Original pencil sketches are still visible around some of the tree leaves. Very bright and clear painting with no apparent restoration or structural damage. The frame has slight scuffs and scratches and the glass would benefit from a clean.

Mixed media, study of figures, entitled ' London, Baker Street ', watercolour, rocky hillside, signed Hawkins and a small framed painting on panel, landscape with building and tree to the foreground, signed with initials J.P.

Thee Pictures: John Cooper - Watercolour of a Country Church, Acrylic on board painting of an English landscape garden together with a print on board of figures playing cricket

A Mid 19th Century Miniature Portrait Painting of a Young Gypsy Girl. c.1865. Watercolour on Board, Unsigned. Mounted and Framed Behind Glass. Painting Size Only - 5.5 x 4.5 Inches.

Moorcroft Original Artwork Watercolour Painting By Phillip Gibson Depicts a large vase in the 'Hidcote manor' design. Dated 2004 and signed by the artist to lower right. Framed and mounted under non-reflective glass by the Moorcroft Art Studio. Size inclusive of frame 28 x 21 inches. Excellent condition

Lucy Archer 19th Century Artist Titled ' The Picnic ' Watercolour. Signed, Mounted and Framed Behind Glass. Painting Size 12.5 x 16.5 Inches.

Michael Crawley 20th Century Derbyshire Artist ' Best Pals ' Evening Stroll In The Rain - Watercolour. Signed. c.1980's. Mounted and Framed Behind Glass. 11.75 x 10.25 Inches - Painting Size Only.

F W Seville late 19thC original river town scene watercolour painting 34 x 27 cm

A* HARVEY (19TH CENTURY) Figures in a Continental street, signed, watercolour, 10 x 16.5cm; and two further works to include an oil painting - mother with child; and Frank Miles - head and shoulders portrait of a lady, etching (3)

WILLIAM MATHISON (1825-1893) An extensive estuary with moored sailing vessels, signed, watercolour, 14 x 36cm; Elsie Nye - 'Padstow Harbour, North Cornwall, signed, watercolour, 27 x 18cm; and a reverse painting on glass painted with floral cartouche beneath a domed top pavilion, 64 x 42cm (3)

REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Circumcision in the stable, etching, 1654, 9.5 x 14.2cm Notes: Bartsch 47; Hinterding & Rutgers (New Hollstein) 280, second state of five. Provenance: With John Baskett, 173 New Bond St. London. The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A fine impression of the earliest state that survives in any numbers (24 are listed by Hinterding & Rutgers, including this one; the first state is only known in two impressions). This impression is cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.16). The third state, still contemporary (though impressions were also printed after Rembrandt's lifetime), is relatively common (46 are listed), and the fourth and fifth states are posthumous reworks.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

REMBRANDT HARMENSZ. VAN RIJN (1606-1669) The Ringball player ('Het Klosbaantje'), etching, 1654, 9.4 x 13.9cm, on paper with countermark of double-wired letters D M (not recorded by Hinterding), the sheet 10.2 x 14.8cm. Notes: Bartsch 125; Hinterding & Rutgers (New Hollstein) 282, first state of two. Provenance: Naudet, Marchand d'Estampes au Louvre (Lugt 1937), ink inscription verso (very faded). With John Baskett, 173 New Bond Street, London The late Mrs Joan Beale; previously on loan to the Ashmolean Museum. A very good impression, probably contemporary (the second state is not). With margins and in good condition. This impression is also cited by Hinterding & Rutgers when on loan to the Ashmolean Museum, Oxford (L11056.1). Although the print used to be called 'The Golf Player' (from 'kolef'), the man in the foreground is sitting out his turn from the ringball alley in the background, where one man is playing while two others are probably laying bets. The sport was called 'Klossen' (it is still played today but called 'Beugelen'), the Dutch and Flemish word 'klos' being a ball for bowling, and the origin of the mediaeval French and English names of the game, Cloishe or Closh. There is a famous engraving of Louis XIV playing an early form of billiards with his courtiers, with an iron hoop to aim the balls through, rather than pockets, and with a cue with a scooped end, a refined version of the one seen in the etching; so billiards evolved, in fact, as a table-top adaptation of ringball.(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

ANTHONIE WATERLOO (c.1610-1690) The outskirts of a village, pen, ink and grey wash drawing, 31.5 x 40cm Prov. With John Baskett, 173 New Bond Street, London Ex. Colln Richard Johnson c.1877 Inscribed verso 'MYM' probably by the artist(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

MICHAEL ANGELO ROOKER (1743-1801) The ruins of an abbey, signed, watercolour, 31 x 26.5cm Prov. With John Baskett, 173 New Bond Street, London(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

THOMAS HEARNE (1744-1817) A young girl milking a cow by a farm with distant view of a church, pen, ink and watercolour, 18.5 x 26cm Prov. With P & D Colnaghi & Co Ltd, 14 Old Bond Street, London(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

ATTRIBUTED TO GUIDO RENI (1575-1642) The Virgin Mary standing over the Infant Christ, pen, brown ink and brown wash, the paper joined at the centre, 21 x 16cm Prov. With Richard Day, 173 New Bond St., London Exh 'Italian Old Master Drawings November 16th - December 3rd 1971' (A leading specialist of works by Guido Reni has been consulted about this drawing. For further details please contact the Mallams saleroom)(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

GIACINTO GIMIGNANI (1611-1681) The Madonna and Child with S.S. Anthony of Padua and Anthony Abbot, brown ink drawing with grey washes and heightened in white, squared in pencil, 22.5 x 14cm Prov. With John Baskett Ltd, 173 New Bond Street, London(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

ANTHONY DEVIS (1729-1817) 'House and Garden with the artist's sketching house on the hill top at Albury, near Guildford' and 'Wooded Landscape with House and Birds in the foreground at Albury', a pair, pen, inks and colour washes, 14.5 x 20.5cm (2) Anthony Devis lived at Albury House Near Guildford from 1780 until his death Prov. With Spink & Son Ltd, 5, 6, 7, King Street, St James'(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

WILLIAM ALEXANDER (1767-1816) The Chinese Bookseller, watercolour, 15 x 19cm Prov. With John Baskett Ltd, 173 New Bond Street, London Ex. Colln Earl of Derby Iolo A. Williams(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

THOMAS ROWLANDSON (1756-1827) 'The Afternoon Visit', pen, ink and watercolour, 15 x 24cm Prov. With John Baskett Ltd, 173 New Bond Street, London Ex. Colln Gilbert Davis(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

DR WILLIAM CROTCH (1775-1847) 'The Playing Field Eton August 2 1832', inscribed to mount with title and also '1/2 past 1pm Calcott approved', watercolour, 14.5 x 20cm Prov. With Thomas Agnew & Sons Ltd, 43 Old Bond Street, London Also an old Exhibition Label verso for an 'Autumn Exhibition 1965'(partially obscured but probably Appleby Brothers)(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

ROBERT HILLS (1769-1844) 'Looking towards Otley from Leathley Wood', inscribed with title, pencil and watercolour, 27 x 22.5cm Prov. With John Baskett Ltd, 173 New Bond Street, London(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

ESIAS VAN DE VELDE (1587/91-c.1630) 'Sheep Shearing' and 'A Harvest Waggon', two brown ink drawings, 5.0 x 7.5cm (im), 12.5 x 18.5 (sh) (2) Prov. With John Baskett, 173 New Bond Street, London Ex Collns Dr Thomas Monro Alexander Monro We are advised that the two drawings attbuted to Esias Van De Velde were rejected in George Keyes catalogue raisonne where they were deemed to be follower of Jan Van De Velde II (c.1593 - 1641) Thrus they are sold as Follower of Jan Van De Velde II (Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

EDWARD LEAR (1812-1888) 'Ithaca', inscribed with title and dated 1 May 1863 2.30pm, numbered '114', pen, ink and watercolour and inscribed with notes, 33 x 49cm The Department of Western Art, Ashmolean Museum Oxford label verso(Lots 158-170)A fine collection of etchings, drawings and watercolours until recently on loan to the Ashmolean Museum: This intriguing collection of etchings, drawings and watercolours was gathered together by Jean and Bill Beale.  They lived beside the Thames at Chelsea in London through the nineteen sixties and seventies while Bill worked in the Foreign Office. A birthday or a wedding anniversary meant a joyful trip to a central London art dealer to look, reflect and then purchase a drawing or watercolour. Many were bought from New Bond Street art galleries like Colnaghi’s, John Baskett and Richard Day, the renowned central London fine art specialists of this period.  This can be seen on the backing to the frames. In later life the Beales moved to a village in Oxfordshire.  The subject matter of their pictures reflected their interest in rural England, the Thames and the highest standard of British and European drawing and watercolour painting. In the 1990’s the collection was placed on loan to the Ashmolean Museum in Oxford, which has conserved their fine condition that makes them such a pleasure to look at today. All but two are unframed but professionally re-mounted to museum specification, however the frames with their labels have been preserved and are sold in their respective lots

John Bentham-Dinsdale (British, 1927-2008):The Duchess of Malfi, costume study for the figure of the Duchess, watercolour & ink, bearing fragment of fabric, signed lower right, titled & inscribed upper right, H 53 x W 36 cm; together with two further costume studies, each approx. H 35 x W 25 cm, one for the same play, the other, 'The Robe Maker', bearing fragment of fabric; & a set design, 'Leocadia, The Park', watercolour, signed & titled, H 38 x W 53 cm (4). Note: During World War II, Dinsdale was a commissioned officer & pilot in the Royal Air Force. When the war ended, Dinsdale found work in the theatre which had always been his passion, designing scenery for a number of repertory companies in London's West End. He subsequently worked in television before moving back to Yorkshire, his birthplace, where he concentrated on the maritime painting for which he became renowned.

A Quantity of Miniatures:To include a pair of wax relief silhouettes of a gentleman, possibly Wellington, & lady by Leslie Ray, London, H 10 cm; a French School miniature painting of a nude in a landscape, H 8 cm; a 19th watercolour portrait of a lady, H 13 cm; and two further small watercolours of river landscapes (6)

Atelier HartmannStargazer Lilysigned, watercolour and gouache, 29cm x 26cm; another, Fairies in a Forest, painting on silk, 31cm x 29cm (2)

John Glynn. Street scene with mountains, watercolour, 18cm x 14cm, a pencil sketch of Clumber Bridge by N Seal, a 19thC oil painting of a cottage, oak framed watercolour signed Wilton etc.

* Lydia Corbett [b.1934]- Boy and Dove:- signed watercolour 40 x 30cm, within the artist's pen and ink decorated mount and painted frame 'I'm always grateful to Picasso for his huge kindness. He gave me confidence in life and I have followed in his footsteps. I was very lucky. There were lots of beautiful girls around and he encouraged me to be a painter'. Lydia Corbett In 1954, the pony-tailed teenager, Lydia Corbett was introduced to Pablo Picasso at Vallauris on the French Riviera when the artist was separating from his wife Francois Gilot. Her presence brought a new energy to his work and she became the favoured model for various works of art, including The Heads of Sylvette, a series of moulded metal sculptures produced by Picasso. She was known then as Sylvette David, and changed her name to Corbett during this period.. In 1968, Lydia moved to England and gave her creative energy to painting. She has since exhibited in London, Europe and Japan. The Anthony Petullo Foundation in America has a collection of her watercolours. In 1993 the Tate Gallery staged a major exhibition of Picasso's sculpture and paintings to coincide with a documentary film on Lydia and Picasso shown on BBC2. In 2014 parallel exhibitions in London and Germany showcased the work of Corbett and Picasso. Corbett's fluid lines bring life to familiar themes and her 'assured and gentle approach to the human figure', recalls the work of Marc Chagall.

GEOFFREY H. ROBINSON, STILL LIFE - FLOWERS IN A CHINESE VASE, DRESSING TABLE MIRROR AND TWO BOOKS WITH A PAINTING BEHIND, signed and dated (19)90 lower right, watercolour, framed. 45cm by 37cm

A quantity of pictures and prints including an oil painting on board of a still life with bottles and fruit, an oil painting of a figure on a country lane and sunset, an oil on board of a Thames scene, a watercolour of a lakeland landscape, signed T Leslie Fawkes, inscribed Coniston, etc, various sizes, all framed.

Jack Butler Yeats RHA (1871-1957) OLD MEN BATHING, 1922 oil on board signed lower left 9 by 14in. (22.9 by 35.6cm) Victor Waddington, London; Private collection, Dublin, 1973; James Adams, August, 1975; Private collection; Adam's, 5 December 2001, lot 90; Private collection 'Paintings of Irish Life', Gieves Art Gallery, London, 7-18 January 1924, catalogue no. 14; 'Pictures of Life in the West of Ireland', Engineers' Hall, Dublin, 27 March to 8 April, 1924, catalogue no. 14 Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, Andre Deutsh, London, 1992, Vol. I, p.152, catalogue no. 174 Painted during the Civil War, this painting refers to a less stressful aspect of Irish life. It may be inspired by Jack Yeats's memories of sea-bathing at Rosses Point in Sligo as a child and adolescent. He refers to this in several early watercolour paintings such as A Sunday Morning Sligo (1898, Private Collection) which shows two young men diving into the sea. Yeats recalled how, 'Almost every year of my boyhood some friend, or myself stepped too soon into the creaming edge of the Atlantic'. (1) A number of later oils, The Old Bathing Place, (1943) and The Spring Board, (1952) also recall this exhilarating part of rural life. Adult bathers on the shore at Sligo feature in two oils The Bather (1918) and The Bather at the Point Sligo, (1925). In Old Men Bathing two men wade out into the Atlantic with a view of the precipitous west of Ireland coastline behind them. The right hand figure is about to submerge himself in the water, his hands extended forward and his back inclined in readiness. The other younger man gazes out beyond the viewer as if surveying the expanse of sea and the rising sun. His hands gently paddle the surface of the waves as he gradually heads out into deeper water. This latter muscular figure is obviously strong and physically able and while middle aged does not appear to be old. The title may be a drôle comment on how such figures would appear to the younger swimmers. Yeats builds up the surface of Old Men Bathing in loose, thinly applied paint that creates a colourful and dynamic surface. A myriad of horizontal brushstrokes of green, turquoise, and red, are used to depict the waves in the right-hand foreground where their vibrancy suggests the reflection of intense morning light. The cliffs in the background are by contrast constructed of vertical layers of colour emphasising their beauty and sublimity. Much of the sky is strewn with thick grey cloud the gloomy appearance of which indicates the changeable weather of the West and adds to the drama of the scene. This expressionist approach of using strong exaggerated colours and emphatic brushwork may have resulted in the work being refused by the conservative Royal Academy in 1923 although it was shown at Yeats's one-man show 'Paintings of Life in the West of Ireland' in London and Dublin in 1924. These two inveterate swimmers appear isolated against the forces of nature. But despite their courage to brave the Atlantic swell, there is a humorous slant to the painting and a strong sense of the enjoyment and pleasure that sea bathing in such spectacular surroundings provides for these figures and for the viewers of the painting. Dr. Róisin Kennedy January 2018 1. Jack B. Yeats quoted in Hilary Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, p. 71.

Jack Butler Yeats RHA (1871-1957) WINTER IN GALWAY, FROM LADY GREGORY'S HOUSE, COOLE PARK, 1944 oil on board signed lower right 9 by 14in. (22.9 by 35.6cm) Sold by the artist to Leo Smith, 1944; Miss F.C. Halligan, Drogheda; Sotheby's, 20 November 1978, lot 410; Private collection; Sotheby's, 30 September 1992, lot 142; Private collection 'Loan Exhibition of Works by Irish Artists', Art Gallery, Drogheda, 16 September to 13 November 1948 Pyle, Hilary, Jack B. Yeats: A Catalogue Raisonné of the Oil Paintings, André Deutsch, London, 1992, Vol.II, p.545, catalogue no. 594 Yeats first stayed at Coole Park in the spring of 1899 when he and his wife Cottie were invited by Lady Gregory. She told W.B. that they were 'such dear pleasant guests - no trouble to any one.' (1) On subsequent visits they became friends with her son, the artist Robert Gregory, and his wife, Margaret, who had also trained as an artist. Another guest, a tutor in classics to Robert, was Rev. Arnold Harvey who became close to both Cottie and Jack, visiting them in their Devon home. As is evident from Jack's sketchbooks which include many drawings of these visits, this group formed a separate set to the literary crowd associated with William Butler Yeats, who was of course almost a fixture of the house at Coole and a particular favourite of Lady Gregory. Jack's sketchbooks of the early 1900s also record the characters and events of the surrounding countryside including fairs and gatherings at Gort and Kinvara. Cottie and Jack's names are inscribed on the copper beech tree in the garden at Coole, along with those of its other distinguished visitors. Yeats did several watercolour paintings of Coole Park in 1900 including The Lake, Coole, the composition of which is very similar to Winter in Galway. (2) The oil paintings Coole Lake (1923, Private Collection) and Small Weir, Coole, (1923, National Gallery of Ireland) were made after the artist's visit to Coole in the summer of 1923 when he made several sketches of the scenery. Coole Park may also have inspired Visitors, (1946, Private Collection) an imaginary subject which refers to the history of the house and its parkland. Another late work, The Lake at Coole (1943, Private Collection) was painted largely from memory. (3) According to its full title the view in Winter in Galway is taken from Coole Park house but again the work is probably based on existing sketches and paintings and Yeats's memory. It shows the famous lake framed by woodland and set against an expansive horizon with blue mountains in the distance to the left. The pinkish tones of early evening light are echoed in the deep red on the barks of the leafless trees. Painted in 1944, three years after the house was demolished, there had been many changes to Coole Park. Robert Gregory was killed during the First World War and his mother had died in 1932. Margaret had remarried and moved away. This is a poignant subject for Jack, who after the death of W.B. in 1939, was revisiting in his imagination a place that was closely associated in his memory with youth, friendship and the creative potential of those past years. Aside from its personal associations, this is a pure landscape which highlights the powerful forms and colours of nature in winter when darkness is about to fall. The stark bare trees are painted in strident blues and reds as they reflect the strong fading sunlight. They stand erect and sparse amidst a marshy terrain of intense greens and blues flecked with white to indicate the waterlogged conditions. The power of the opaque colours and the subtlety of the dynamic elements of sky, water and vegetation belie that fact that this is a view of the countryside in hibernation and decline. The foaming waters of the lake extend towards the distant horizon and draw the eye into the painting. Their meandering form imparts a poignant sense of the endurance of the natural world while the complex construction of the painting's surface and its myriad forms reminds us of the fact that this is first and foremost a work of art rather than a conventional topographical rendering of a familiar view. Dr. Róisin Kennedy January 2018 1. Quoted in Hilary Pyle, Jack B. Yeats A biography, Kegan Paul, 1970, p. 55. 2. Hilary Pyle, Jack B. Yeats. His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, no.216, p.88. 3. André Deutsch Hilary Pyle, Jack B. Yeats. A Catalogue Raisonné of the Oil Paintings, 1992, I, p.503.

Eamonn O'Doherty (1939-2011) UNTITLED, 1977 watercolour with collage element laid on board signed and dated lower right 17.50 by 24in. (44.5 by 61cm) Estate of Theo McNab Eamonn O'Doherty is best-known for his public sculpture among them Anna Livia, 1988, commissioned by the Smurfit family and donated to the city of Dublin. It was originally situated on O'Connell Street but is now relocated in the Croppies Acre Memorial Park by the Dublin City Council. O'Doherty also created Crann an Óir, (Tree of Gold), 1991, located outside the former headquarters of the Central Bank on Dame Street, Dublin. His paintings are rarely seen at auction. Theo McNab was born in Dublin. He worked as a design consultant before exhibiting for the first time at the Irish Exhibition of Living Art in 1971, where he was awarded the Carroll's prize. From 1973 he held one man shows at the David Hendriks Gallery. He exhibited extensively in Europe, the USA, China, Japan and Korea. In 1981 he became a member of Aosdána and was elected to the Toscaireacht (Supervisory Board) in 1985. He was Professor of Fine Art at the National College of Art & Design where he actively promoted international exchanges for staff and students under the Erasmus scheme. His work is underpinned by scientific order as found in nature, such as observation of the movement of the sun within a given period of time from a fixed position. He has said: "I do not wish my painting to be classified as abstract or otherwise. I am interested in our feelings about existence and our desire for order whether manifested in mythology, philosophy or mathematics. I transform these timeless concerns into landscapes reflecting personal experience".

A vintage watercolour medium painting in an abstract style signed Trish Ainsworth

A large framed oil seascape painting, indistinctly signed, and two smaller framed watercolour paintings of yachts on a lake, initialled W.J.P.Approx 57x77cm.

An original framed watercolour painting by V.N.Rainbird, ‘A Ship in Distress’, signed and dated 1914.Approx 62x80cm

An original watercolour and possible pastel painting by maritime artist John Francis Branegan, (1843-1909), of Gurleston pier in Norfolk, signed and titled.Approx 30x40 inc.mount

Bohuslav Barlow (b.1947) Czech ''The Last Painting of the Left Bank'' Pen and ink and watercolour, 68cm by 95cm Purchased directly from the artist in 1981

Angela Meyer (Contemporary) ''Dove with Fruit Bowl'' signed and dated 1996, inscribed, mixed media, together with a further acrylic figurative painting of a water carrier; Escena Taurina by H Serrano, watercolour; a limited edition photographic print of two horses number 17/250 and a Saatchi Gallery poster (5)

A framed and glazed painting in watercolour and gouache of a reclining nude, signed and dated 1967 by D, R. Adamson, Winchester school of art.

A watercolour and ink painting of Steep Hill, Lincoln by Lincoln artist Gordon Cumming, signed and dated 1974.

A1960's signed and dated watercolour & gouache painting of standing nude by D. R. Adamson, Winchester school of art.

2 framed and glazed watercolour painting of farm houses signed G Roberts and dated 1928.

W.G. PIERCE "The Brig Evelyn off The Needles in 1880" (Porthmadog built sailing ship), Watercolour painting, signed, mount inscribed, 29cm x 39cm, mounted in gilt glazed frame

H. RUTHERFORD "Lock Keeper's Cottage" Watercolour painting, signed and dated 1922, 26cm x 37cm mounted in white glazed frame

JOHN PITTAWAY, Late 20th century "Stratford Road, Harvington, Worcestershire", half timbered thatched cottages, Watercolour painting, signed, 47cm x 65cm, mounted in gilt glazed frame

GOODFELLAS PAINTING: 15x11 inch watercolour painted and signed by the late Henry Hill who was the inspiration behind the film Goodfellas and was played by Ray Liotta in that film. Examples of his art are very desirable and collectable. Good condition. All signed items come with our certificate of authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £3.95, EU from £4.95, Overseas from £6.95

Two needlework samplers 1819 and 1837 together with David Hill watercolour entitled "Down the Arun, Sussex" and an oil painting of seascape (4)

Watercolour of an artist at his easel painting a marine scene with yachts, signed Syles

Charles Doyly - small watercolour of an Indian coastal scene with boats and figures and a small oil painting of a continental farmhouse

WATERCOLOUR , OIL PAINTING & SKETCHES & PRINTS (9)