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A 19th century watercolour painting of a Victorian boy, Height 22cm x Width 17cm

WALTER CULLEN A late 20th century Watercolour painting, estuary scene with beached sailing vessels, signed and dated 1992, 29 x 45cm, in stained wood frame, mounted and glazed

GRAHAM PLUMMER Estuary scene with beached vessels in a harbour setting, Watercolour painting, signed lower right, 30 x 46cm, in a stained wood frame, mounted and glazed, together with a 20TH CENTURY WATERCOLOUR of a River scene with distant church, 36 x 53cm, gilt framed mounted and glazed

Stephen Frank Wasley (1848-1934) - 'Feast of St Mark, Venice' signed, inscribed on the original frame, watercolour and gouache heightened with white, 9.5" x 21.5" *The artist was born in Peckham South London, a professional musician taking up painting after a four year tour in Canada. He painted mainly seascapes from his studio in Whitby, but depicted other subject matter, he was regarded as being one of the finest exponents of charcoal drawing at the turn of the 1900s

A Persian painting of an amorous couple in a khatam kari frame, 41 x 31cm, together with a W.Gibson signed watercolour of a moonlit seascape, 34.5 x 43.5cm.

A framed and glazed watercolour of St. Mary's School, Shaftesbury. Painting 25cm x 35cm

A framed and glazed watercolour of a classic Edwardian Gentleman. In gilt frame. Small amount of damage to painting. Watercolour 12cm x 16cm approx.

AN OIL ON CANVAS PAINTING OF HARDY'S BIRTHPLACE, signed 'J L Weld' and a watercolour by G A Sillitto

An attractive watercolour painting of a Cornish Fishing village scene - signed bottom left

A stamped impressionist watercolour painting of 3 nudes by Peter Collins, A.R.C.A., (1923-2001) Stanley studios Chelsea

Tom Anderton, figures painting en plein air, signed, watercolour

Alfred William Strutt (British 1856-1924): 'Bringing Home the Game', watercolour and gouache signed 54cm x 89cm Condition Report Excellent colour and very good overall condition. There is a border mark to the right edge of the painting but this does not distract from the overall effect of the painting. Click here for further images, condition, auction times & delivery costs

Sharon Tiernan (Northern British Contemporary 1979-): Sweets and Wrappers, acrylic on watercolour paper signed 74cm x 54cmNotes: Born in Scarborough, Sharon gained a first class honours degree at the University of York and MA in Painting at the University of Hull and continues to work in North Yorkshire. Condition Report Click here for further images, condition, auction times & delivery costs

AN EARLY 20TH CENTURY SIGNED JAPANESE HARDWOOD FRAMED WATERCOLOUR PAINTING, depicting a farmer in a paddy field, the frame 23.5in x 17.8in.

MARGARET GILLIES (1803-1887) The Philosopher and his daughter, signed indistinctly to a page of the sitter's book, watercolour with body-colour and white, 44 x 34cm Prov: This painting was commissioned in 1862 by Mr Gilbert Cowie, at the cost of 30 guineas. It is believed to represent Mr Cowie and his wife Lena, and has been passed down by family descent. The lot is accompanied by a collection of six journals and diaries belonging to Gilbert and Lena Cowie, which contain references to the painting

A painting on slate depicting a young woman, signed Jill Green; Chris Bird, 20th century, watercolour Frost on Cottage at Stump cross, Wentworth, near Rotherham

A painting in gouache - "The Empire Electric Theatre", by T. Bullock, signed; and a naive watercolour children at play, by A. Clark, signed. (2)

An oil painting, by Herbert Dees - "Anemones", signed; inscribed label verso; together with a watercolour, by Bill Farrell - "The Langdales", signed, inscribed and dated '74 verso. (2)

English School (circa 1820), miniature watercolour on ivory - portrait of a gentleman with blue coat and green cravat, advertising card within the backing for Mr J. Buckley - Professor of drawing and painting, oval, 7cm x 6cm, in glazed papier mâché frame

Watercolour seascape painting by Edith Firth, oil on canvas of apple blossom (af) & Italian gouache 'Erruption 24 April 1872'

A quantity of pictures and prints including an oil painting on board of a river scene with stone arch bridge, signed Laura Goodman, an abstract subject signed M Ferris, a pair of signed coloured prints after Sir Hugh Casson, three portfolios containing life studies, still lives, etc., in charcoal, watercolour, etc.

An oil painting on board in the 19th century manner, study of ducks, signed bottom right Max Graners (?), 19 x 24 cm approx in ornate gilt frame, a late 19th century watercolour study of a woman in Italian style costume, signed with monogram bottom left FH, 22 x 15 cm approx, a coloured print of a meet at Badminton, signed and inscribed by the Duke of Beaufort, a watercolour of a cottage garden, etc.

An early 20th century watercolour of cattle in an extensive landscape 28 x 38cm in gilt frame, together with further pictures including a gouache caricature of a golfer, signed B Williams, dated 96, a 19th century watercolour of a marine scene, an oil painting on board of a river scene with shipping, a watercolour of an estuary scene, signed H J Ford, a print of the North West prospect of Cambridge, etc together with a folder of various unframed watercolours, prints etc

A 19th century watercolour and body colour painting of St Michael's Mount with fisher folk, fishing vessels, horse and cart, etc inscribed verso M Clay? April 5 1843, 19 x 25cm in gilt frame

A watercolour, Yurity Konysheff, Russia, signed, 8'x12' and oil painting, Riva Munchom, Langdales, 11'x15' and an etching

Pam Masco (American, b.1953), a girl ready for school, the original painting to illustrate a dust jacket of a book, watercolour laid on card, signed. 60cm x 43cm.

M Walton early 20th century watercolour painting Scottish loch scene with boats signed and dated 1911.

THE ORIGINAL WATERCOLOUR PAINTING OF J.J.AUDUBON, AMERICAN HERUTAGE, NEW YORK, 1966, 2 VOLS IN SLIP CASE TOGETHER WITH BRITISH BIRDS, A THORBURN, LONGMAN, LONDON, 1916, 4 VOLS TOGETHER WITH GAME BIRDS, HUGH POLLARD, EYRE & SPOTTISWOOD, LONDON, 1919 AND MORRIS' BRITISH MOTHS, REV. MORRIS, NIMMO, LONDON, THIRD EDITION, 4 VOLS.

A CHINESE REVERSE PAINTING OF A MAIDEN HOLDING A SONGBIRD (28 x 12.5cms.) TOGETHER WITH A WATERCOLOUR ON SILK OF FIGURES IN A BOAT. (2)

A Chinese ancestral painting depicting a mandarin, consort and family on a balcony with courtiers in a garden, watercolour on paper (losses), 19th Century, 180 x 215cm

*De Morgan (Evelyn, 1855-1919). Study for Deianira, pencil on thick paper, laid down on card, showing the full-length profile figure of Deianira in a wind-swept landscape, clutching her head in her hands in despair, dusty, some small marks, mostly marginal, but one stain to upper portion touching drapery and hair, marginal pin holes, sheet size (not including mount) 45 x 30cm (17.75 x 11.75ins) A preparatory study for 'Deianira', of which Evelyn De Morgan painted two versions, one in watercolour and the other in oil. The monogrammed watercolour is a similar size to the drawing offered here, and was sold in the 1980s by Peter Nahum at The Leicester Galleries, London. The oil was larger, and was signed and dated 1878. It was sold at Sotheby's on 17th March 1971 (lot 137), and was acquired then or later by the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 72). However, it was subsequently lost in October 1991 when a fire raged through Bourlet's art storage unit in south-west London, where some of the De Morgan Foundation's art collection was being held. In Greek mythology Deianira was the wife of Heracles, who had won her hand by defeating the river god Achelous in a wrestling match. After their marriage Heracles shot the centaur Nessus with a poisoned arrow, after he tried to run off with Deianira. The dying centaur gave some of his blood to Deianira, saying that if Heracles was ever unfaithful the blood would revive his feelings for her. When later Deianira had occasion to follow the centaur's advice, sending Heracles a blood-smeared tunic, the garment burned him to death. On hearing that she had unwittingly killed her husband Deianira took her own life. De Morgan chooses to depict Deianira at the moment of despair, just before her suicide. Her face is curiously calm, but she is a large solitary figure in a bare landscape, which reinforces her attitude of grief. In the oil painting there is more detail in both landscape and figure, but in all three versions she is clearly bereft. In both the pencil drawing and the watercolour the trees move with the wind, but in the oil they are resolutely still. The face of Deiarina in each version is subtley different, the drawing showing her at her most inward-looking, oblivious to the elements which cause her cloak to billow over her head. (1)

*De Morgan (Evelyn, 1855-1919). Study of a female nude for Cadmus and Harmonia, black chalk highlighted with white chalk on brown paper, depicting a standing female nude entwined by a snake, loss and minor fraying to upper margin, one short tear slightly encroaching on the figure's hair, reverse with a drawing of a Michelagelesque female saint reading, black chalk highlighted with white chalk, sheet size 51 x 30.5cm (20 x 12ins), together with another study for Harmonia and the snake, pencil on card, dusty, a few marks to right-hand blank margin, trimmed to upper edge, with loss of single line pencil border, sheet size 28.5 x 6.75cm (11.25 x 17ins) 'Cadmus and Harmonia' is housed in the De Morgan Foundation ('Evelyn De Morgan, oil paintings', DMF, 1996, plate 3). The subject of the painting is taken from Ovid's Metamorphoses (Book IV, 563-603). It depicts Cadmus after his transformation into a serpent, entwining himself around his wife. The following lines from Ovid accompanied the work when it was exhibited: "With lambent tongue he kissed her patient face,/Crept in her bosom as his dwelling place/Entwined her neck, and shared the loved embrace." The work was painted in 1877, shortly after De Morgan had returned from a trip to Italy. The figure of Harmonia is reminiscent of the central figure in Botticelli's 'The Birth of Venus', which Evelyn had copied as a student (the De Morgan Foundation houses a watercolour she made after Botticelli's famous work). (2)

*Heaphy (Charles, 1820-1881, after). Thorndon Flat and Part of the City of Wellington, New Zealand, circa 1840s, oil on canvas, unsigned, 62 x 74 cm (24 x 29 ins), contemporary probably totara or rimu burr veneer frame Provenance: Acquired by Dr Charles Arundel Overbury Fox (1886-1971) from Francis Edwards, London, circa 1935. Fox was an English collector of early New Zealand and Pacific works of art; acquired by the current owner's family from the estate of Dr Fox following his death in Birmingham, England, in 1971. Some brief manuscript notes of provenance in Dr Fox's hand and a letter from Rex Nan Kivell of the Redfern Gallery, London, dated 20 May 1959,are offered with the lot. The letter from Rex Nan Kivell suggests a connection with a lithograph Charles Heaphy and says that he has a painting of the same size that is obviously a copy from the lithograph. An early large-scale painting of the harbour and settlement of Wellington in New Zealand. As a composition, this painting is most similar to that engraved byThomas Allom after the drawing by Charles Heaphy entitled 'Part of Lambton Harbour, Port Nicholson, New Zealand; Comprehending about One Third of the Waterfrontage of the Town of Wellington, April, 1841', published for the New Zealand Company in 1842. Unlike the original watercolour of the same scene which has no figures by the flagpole on 'Flagstaff Hill' from where the scene is observed, two groups of three figures have been added into the engraving, one European and five Maori. The flag in the watercolour is that of the New Zealand Company while the lithograph shows a Union Jack. The painting here offered shows many similar characteristics to the watercolour and print and strongly suggests the artist had knowledge of the print. Charles Heaphy was employed by the New Zealand Company as a draughtsman and drew his watercolour in April 1841. He presented the new settlement in a positive light in order to attract new immigrants and investors, showing cows wandering on the beach, the Maori in the foreground welcoming a European, and the gentle hills suggesting suitability for farming. Heaphy is not known to have painted in oils. The painting here has five figures set in two groups by the flagpole, but also shows European and Maori figures, a man in a straw hat facing the viewer possibly being that of the artist. The flag is that of the New Zealand Company and unlike Heaphy's watercolour and the print after it, is shown furled and not blowing in the breeze. There are fewer boats in the harbour in this painting than in Heaphy's version and while there are no cows on the beach there are various figures in front of the Maori settlement. The tide is out and shows a tongue-shaped spit of sand near identical to Heaphy's depiction; the settlements along the far shore and rising chimney smoke below the hills are very similar too. With thanks for the assistance of Dr Oliver Stead of the Alexander Turnbull Library, Wellington, New Zealand. (1)NB. The frame details given in this lot description have been amended from walnut burr.

*Chinese School. A Chinese mountain landscape scroll painting, 19th century, watercolour on paper, artist's red seal lower left, calligraphic inscription and seal top right, 116 x 47 cm (45.75 x 18.5 ins), silk-lined border, a few creases and light spots (1)

A 20th century framed and glazed watercolour painting of an English Man O' War ship in rough seas bearing monogram of artist to corner CK.  Cornish framing label to verso. Measures 34cms x 52cms

P Hodson 184. A framed watercolour / pastel painting of a meadow  river scene by signed to the corner, framed and glazed. Measures 30cm high x 43cm wide.

An Edwardian watercolour painting of a sailing boat and estuary scene with shoreside village. Framed and glazed with monogram EH 08 to the corner

Sir Ernest Waterlow, RA, PRWS (British, 1850-1919) A View of Covehithe Church, Suffolk oil on canvas 34 x 50cm (13 x 20in) Exhibited: Royal Hibernian Academy, No. 746 London, Royal Academy Winter Exhibition, 1922 (according to old labels) Ernest Waterlow studied at the Royal Academy Schools, where, in 1873, he gained the Turner Medal for landscape painting. He was elected an Associate of the Royal Watercolour Society in 1880, a member in 1894 and President in 1897; an Associate of the Royal Academy in 1890 and Academician in 1903. He was knighted in 1902. The tower was a landmark Very sadly the rest of the church was desecrated by the local people in 1672, less than two hundred years after it had been built, due to the upkeep of such a great church. The tower is a very fine one, and was once an important landmark for ships at sea. Trinity House once ensured its survival, but nowadays the tower is in the care of the Churches Conservation Trust, as are the ruins Oil on canvas, unlined. Canvas tension good. Paint layer in a good, stable condition. Uneven and slightly yellowed paint layer. Gilding on frame slightly worn and some areas with losses to the gesso layer

Edgar Bundy, ARA (British, 1862-1922) A gentleman in black having an audience with a group of Cardinals signed lower right "Edgar Bundy" oil on canvas 48 x 74cm (19 x 29in) Other Notes: Edgar Bundy specialised in historical paintings in oil and watercolour, usually in a very detailed and narrative style, a genre which was very popular in the Edwardian time Bundy lived in. He exhibited at the Paris Salon in 1907 and at the Royal Academy in 1915. 434 HR old Christie's stencil. Condition appears fine. Gilt frame has missing bits. Conditon of painting appears fine.

Joseph Crawhall (British, 1861-1913) A sketchbook of animals - giraffes, zebras, horses, elephants, camels, gnu and a hare drawn by the artist when a child mostly pencil, one watercolour 12 x 19cm (5 x 7in) Provenance: From the collection of William Drummond. Joseph Crawhall specialised in painting animals and birds. He was born at Morpeth, Northumberland, and trained at King's College, London, before going to Paris to work with Aime Nicolas Morot (French 1850-1913) in 1882. In the 1880s and 1890s, Joseph Crawhall's work became associated with the Glasgow Boys. He was strongly influenced by the Impressionists, and, like them, his work was rejected by the establishment. Many of Crawhall's works are now in the Kelvingrove Art Gallery and Museum and in the Burrell Collection, Glasgow. Cover is worn - pages loose. Sold with a Spink catalogue of Crawhall exhibition of 1969.

A framed and glazed watercolour of St. Mary's School, Shaftesbury. Painting 25cm x 35cm

19thC School. Landscape with cottage, figures, etc., oil on canvas, an architectural sketch titled The Erechtheion Athens, watercolour of a church, a double sided oil painting painted with a portrait and still life, etc.

A CONTEMPORARY ETCHING 'Past and Presents', indistinctly signed by Janet Lueck (?), 35cm x 69.5cm together with further decorative prints including an oil painting of a kestrel, a watercolour by Charles Whitaker, two still lifes etc (8)

A Pastel painting of a Traction Engine 67cm x 43cm, and a Watercolour of Mouse Island, Corfu 34cm x 24cm

Watercolour painting of mountains and lake scene in gilt frame signed Thorley, painting size 27 x 19cm and another of river scene (2)

A collection of Hardback books to include The Great Works of Japanese Graphic ArtBirket Fosters Pictures of English Landscapes (spine a/f) B&W plates eng. Brothers DalzielThe Book Douglas McMurtie The Story of Printing and Bookmaking IllusThe Approach to Painting Thomas Bodkin B&WA History of Graphic Art James Cleaver B&WVictorian Book Design and Colour Printing by Ruary McLean 1st EdOld English Colour Prints M C Salaman Illus Ed Chas HolmeFantasy Book Illus 1860-1920 Brigid Peppin 1975 1st EdThe Watercolour Drawings of J S Cotman by A P Oppie 1928Drawing without a Master Cecil G TrewDictionary of British Book Illustrations of 20C B Peppin / L MicklethwaiteWalter Crane as a Book Illustrator by R K Engen 1st EdWilliam Morris intro by Fridolf JohnsonThe Fantastic Kingdom David LarkinKay Nielsen & The Unknown Paintings of Kay NielsenThe Engraved Work of Eric Gill V & A MuseumSketches from Nature MacWhirter RAThe MacWhirter Sketchbook IllusThe Art of Landscape Painting Leonard RichmondIlluminating (the Art of) Illus col platesBook Binding Hewitt-BatesFrancesco Bartolozzi J T Herbert BailyThos. Rowlandson His Life and Art by Bernard Falk 91 Illus.

Shaila C Mair, "Anemones" A 1930s Watercolour painting of a vase of Anemone flowers, 37 x 27cm in painted wood frame

A Baggott, "A Breather" A 1930s Watercolour painting of two Airdale Terriers, 30 x 22.5cm in oak frame

Tom Rowden, watercolour painting of farmer and cattle in farmyard dated 1894, 38 x 16.5cm in wood frame

Harry Tittensor, watercolour painting of lady with cat in wood frame, overall 42 x 57cm. Harry Tittensor worked as a ceramic artist at Royal Doulton from 1900-1925 when he left to concentrate on his paintings.

David Bellamy (British School 20th Century) "On the Prowl Fuglefjorden Svalbard"Watercolour of a Polar Bear in a mountainous scene, 32x41cms, further painting by David Bellamy of a bridge in a mountain setting 31x42cms, a limited edition print of a cottage (3)

20th century AD. A watercolour painting in a glazed wooden frame with reveal, seascape with yacht and island with temple ruin; titled 'Cape Sunium' and signed 'R.T. Pritchett'. 1.1 kg, 33.5 x 26.5cm (13 1/4 x 10 1/2). Property of an Essex lady; acquired on the UK art market. [No Reserve]. Fine condition.

20th century AD. A group of framed prints comprising: Irises reproduction of van Gogh's painting in the Metropolitan Museum of Art, glazed wooden frame; photograph of lifeboat and crew marked The Alfred Staniforth, Teignmouth in glazed wooden frame; photograph of lifeboat crew marked Teignmouth Lifeboat Crew after their rescue of the wrecked crew of the Russian schooner Tenvya off Exmouth, Oct.10th 1907 in glazed wooden frame; print of a watercolour of lifeboat EX10 aground in harbour, in glazed wooden frame; vertical watercolour print of sailboards Two's Company in glazed wooden frame; horizontal watercolour print of sailboards Freedom in glazed wooden frame; reproduction of a watercolour of birds and blossom by Basil Ede in glazed wooden frame; reproduction of a landscape scene with haywain in a meadow in a glazed wooden frame. 13.1 kg total, 31 x 25.5 - 86 x 60.5cm (12 1/4 x 10 - 33 3/4 x 24). Property of an Essex lady; acquired on the UK art market. [8, No Reserve]. Mainly fine condition.

20th century AD. A watercolour painting in a glazed frame with a reveal, harbour scene with lighthouse and ship at anchor; frame-maker's label to the reverse. 1.7 kg, 54 x 43.5cm (21 1/4 x 17). Property of an Essex lady; acquired on the UK art market. [No Reserve]. Fine condition. frame abraded.

20th century AD. A watercolour painting on linen backing of three generations of males on a bridge with blossoming trees, two columns of text and a red chop seal. 293 grams, 1.9m x 42cm overall, painting 1.28m x 31.5cm (50 1/2 x 12 1/2). Acquired on the London art market before 1995. [No Reserve]. Fine condition.

HORACE BRODZKY [1885-1969]. Men Waiting for Work [study for painting], 1926. watercolour and pencil. Signed and dated. 19 x 23 cm [overall including frame 33 x 40 cm]. Provenance: Fieldborne Galleries. [good condition - unexamined out of frame - some time toning of the paper, as expected due to age]. Buyers premium of 20% + VAT is payable.

BETTY SWANWICK R.A. [1915-89] Mermaid, c.1959. watercolour. 26 x 36 cm [overall including frame 46 x 56 cm]. Provenance: Mitch Mitchell collection [drummer with Jimi Hendrix, who owned several Swanwicks - he apparantly became enthusuastic about her work after seeing her great painting for the cover of Genesis's record 'Selling England by the Pound']. [good condition – unexamined out of frame - small stain in extreme bottom left corner]. Buyers premium of 20% [+ VAT] is payabler.

Various Beatrix Potter and other children's books, small oil painting and a watercolour

Garman Morris, watercolour, view at Lizard head, signed with initials, 5ins x 15ins, gilt framed (a/f), a signed Limited Edition print of British Airways Concorde, signed by Captain Jock Lowe and Anthony Hansard, No. 1674 of 1950, a late 19th or early 20th Century Japanese painting on silk, lake scene with boats before Mount Fuji together with a similar moonlit lake scene, both in lacquer frames

A CHINESE INK AND WATERCOLOUR ‘PRUNUS AND INSECT’ SCROLL ATTRIBUTED TO YUAN HONGSONG, 1910 - 2012 the gnarled moss-covered branches painted with clusters of white prunus blossoms amongst early spring leaves, a red dragonfly atop a bare branch with a cricket descending towards another within the lower register of the painting, inscribed with script and two iron red seals, the ivory silk border woven with phoenixes amongst clouds, the seals reading Mian Sheng, a pseudonym adopted by Yuan Hongsong, the calligraphy loosely translating to, ‘following the style of Ju Lian, painted in the autumn of the Gui Chou Year (1973) by Mian Sheng 157cm high, 43cm wide