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English School (20th century) - Figures on the quay at Leith, signed with initials also inscribed verso, oil on board, 7.5" x 4.75" also a watercolour study of a jack russell terrier signed D. Law, and a collection of various prints and other reproductions after Mary Fedden, an oil painting of apples upon a green and blue striped table cloth, a poster depicting the work of Robin Pickering, paintings of Devon and Cornwall various decorative framed mirrors etc etc, various sizes (a collection)

* Marshal (Albert, J). Amiens Cathedral 1914-18, pen and ink heightened in watercolour on paper, showing WWI Scottish soldiers and locals in the cathedral streets, artist initials lower right, water damage to the upper left and lower right, 44.5 x 53.5 cm, framed and glazed, frame size 50 x 60 cm, various inscriptions versoQTY: (1)NOTE:According to the inscription verso, the artist was a teacher at Claremont School and this work was "exhibited in Castle in 20s" (as inscribed to verso), no doubt Nottingham Castle as the artist was a Nottinghamshire man and is best known for painting sketches of the suburban village of Clifton in Nottingham.

Antique 18thc decoupage & watercolour painting including a lock of hair of John Luxmoore (Luxmore) (b.2 July 1771) - frame 38cm x 27cm ~ slight old water damage to the top left corner and some white mould patches to the skirt

Framed watercolour painting (dated 1895) of village next to river by Henry Stannard (1844-1920) - frame 42cm x 54cm

John Piper (1903-1992), study of a dolls house, watercolour and ink, dated Dec '43, 30.5x27cmThe picture was published in the Architectural Review, 1943, as an example of a doll's house made by a 'working man', which Piper described as 'wholly satisfactory and wholly English...[it] suggests a noisy but cosy Christmas party after a journey by train to an early railway station'The painting was given by Piper to his friend Katherine Church (1910–1999). She was married to Anthony West, the son of HG Wells. The watercolour passed to their daughter, Caroline West, from who's estate.

Helen Bradley (British, 1900-1979)Mumps Station, Wakes Week signed 'HELEN BRADLEY' and with fly insignia (lower left); further signed, titled and dated 'It is Oldham Wakes and/we are off to Grandfathers/at Blackpool (Mumps/Station)/(the year 1907)/Helen Layfield Bradley/1966' (on an artist's label attached verso)oil on canvas laid on board50.4 x 76.2 cm. (19 3/4 x 30 in.)Footnotes:ProvenanceWith Mercury Gallery, London, 15 December 1966, where acquired byMr and Mrs E. AstaireWith Ribblefort Gallery, Preston, 21 October 1975, where acquired by the family of the present ownerPrivate Collection, U.K.Born in 1900 as Nellie Layfield in Lees, a small industrial town on the northern fringe of Oldham, Helen Bradley would become one of the nation's most loved painters, but not until her later life.As a young woman Bradley had attended art school and maintained a hobby of painting throughout her adult life but side-lined this interest to allow for the raising of a family. It was only in her 60s, with an empty nest, that Bradley painted with a renewed vigour. She had recently moved to the southern Lake District, and there began to paint misty landscapes in watercolour which she exhibited at the local Saddleworth Art Society. It was via this society that Bradley first met L.S. Lowry. She expressed to Lowry that she had always struggled to paint figures and he suggested that she should 'paint someone you know well, go home and paint your mother'. Bradley took Lowry's advice and turned her attentions to painting family scenes from her Edwardian childhood, depicting a world full of rose-tinted incidence viewed with a nostalgic innocence.Bradley's new approach led to a series of highly successful exhibitions at Cork Street's Mercury Gallery and the publication of a series of story books, which found audiences around the globe. Declared as 'Britain's own Grandma Moses', Bradley enjoyed a public profile matched by few other artists and was ultimately awarded an MBE.The scene for the present work is the first day of Wakes, an Oldham area custom in which the town's industrial firms, that dominate the painting's horizon, would close for a fortnight each June. This gave the local families a chance to enjoy holidays, with many choosing to head for the nearby seaside at Blackpool, easily reached by the Lancashire & Yorkshire Railway running from Mumps station in Oldham. Bradley depicts her familiar cast of characters setting out on this annual journey, the next stage of which is depicted in the painting It's Going to be a Beautiful Sunny Evening when we get to Blackpool (sold in these rooms for £170,500, 18 November 2015, an auction record for a single work by the artist).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Imperial Russian Painting of a Battle Scene in the Russo-Japanese War, believed to have been painted by Ukrainian artist G A Sokarinski (1900-1980). Picture in watercolour, shows Japanese soldiers being surrounded in battle in the snow. Housed in a modern glazed frame measuring 87 x 71 ½ cms.

Enid Sybil Mills,  British 1901-1985- Thus Titania Sleeps; pencil, pen and ink, and watercolour on paper, signed and dated 'ENID / MILLS 1937.' (lower right), titled 'Thus Titania Sleeps' (lower left), 26 x 36.6 cm.; together with eleven further works on paper by the artist, each signed 'ENID MILLS' and variously titled and dated, and an oil on canvas of a garden path, signed 'ENID MILLS' (lower right), bearing old inscribed artist's label verso, 29.5 x 39.5 cm., thirteen (13), (one unframed). ARR. Provenance:  Private Collection, UK. Note:  Enid Sybil Mills produced a number of elaborate and fantastical fairy scenes, which exhibit a stylistic debt to the Art Nouveau approach of illustrators such as Arthur Rackham (1867-1939). These present works include a number of these scenes, alongside illuminated passages of poetry, two from 'The Rubaiyat of Omar Khayyam' (translated into English by Edward Fitzgerald in 1859), and one taken from Prospero's soliloquy in Shakespeare's 'The Tempest' (1611). The exquisite detail of the present works is typical of the genre of fairy painting, and also exhibits Mills's considerable technical ability. 

Pavel Tchelitchew,  Russian 1898-1957- Costume design for Concerto: Le Prince, 1942; pencil, watercolour, and bodycolour on paper, inscribed 'III partie Mozart le Prince' (upper edge), numbered '12' (lower right), with a sheet of handwriting in French and diagrams of clothing verso, 36 x 18.8 cm. Provenance:  Anon. sale, Sotheby's, New York, 12 October 1991, lot 68.  with Michael Rosenfeld Gallery, New York;  where purchased by Robert Bunting, 11 May 1993.  The Robert Bunting Dance Collection sale, Skinner, New York, 20 September 2013, lot 442. Exhibited:  New York, Michael Rosenfeld Gallery, 'Pavel Tchelitchew: Nature Transformed', 3 April-29 May 1993. Literature:  'Pavel Tchelitchew: Nature Transformed', exhibition catalogue, Michael Rosenfeld Gallery, New York,1993, p.28 (illustrated).  Note:  Having fled Russia at the onset of the revolution in 1917, Tchelitchew studied at the Kiev Academy under the artist and designer Aleksandra Ekster (1882-1949). After moving to Paris in 1913, he established friendships with key figures in the contemporary avant-garde movement, such as Gertrude Stein (1874-1946) and Edith Sitwell (1887-1964).  Tchelitchew began his career as a theatre designer, and it was in this capacity that he worked with the ballet impresario Sergei Diaghilev (1872-1929) and the choreographer George Balanchine (1904-1983). The present work is a design for the ballet 'Violin Concerto', set to Mozart's Violin Concerto no.5, and choreographed by Balanchine in 1942 for the Ballet of the Teatro Colon in Buenos Aires. According to Donald Windham, who was a friend of Tchelitchew, this was one of final two productions that the artist worked on before focusing his energies more on his painting. 

Frederick Edward Joseph Goff,  British, 1855-1931- Windsor; and Cheapside; each pencil, pen and black ink and watercolour heightened with touches of white on paper, the first signed and inscribed 'Windsor / Fred E. J. Goff.' (lower right), the second 'signed and inscribed 'Cheapside / Fred. E.J. Goff' (lower left), each 10.9 x 14.7 cm., two (2). Provenance:  Private Collection, UK. Note:  Goff specialised in painting views of late Victorian London in watercolour on a small scale. He used a magnifying glass whilst painting, allowing him to skillfully capture architectural subjects in minute detail. Indeed, his depictions of the sights of many famous scenes of London and its environs earned him a respected reputation during his lifetime. His works were exhibited at the Royal Academy, the New Watercolour Society, the Royal Institute of Painters in Watercolour and the Glasgow Institute of Art. 

Giovanni Paolo Panini,  Italian 1691-1765- View of Piazza Colonna with the Column of Marcus Aurelius, Rome; black chalk, pen and grey ink and watercolour on laid paper, watermark fragment fleur-de-lys with a crown, signed with initials ‘G.P.P.’ and indistinctly inscribed (lower left), further inscribed 'P.H.' (lower right), 25.3 x 36 cm. Provenance:  William Esdaile (1758-1837), London;  His sale, Christie's, London, 20 June 1840, lot 450 (2 gns to Hogarth).  Unidentified collector's mark P. H. (L. 2084).  Lore and Rudolf Heinemann, New York;  Their sale, Christie's, London, 1 July 1997, lot 75.  with Kate de Rothschild, London (Master Drawings, July 2001, no.11, illustrated).  Private Collection, Europe. Exhibited:  New York, The Pierpont Morgan Library & Museum, 'Drawings from the Collection of Lore and Rudolf Heinemann', 1973, no.32, illustrated. Note:  By contrast with his extensive output of capricci, Panini’s detailed topographical ‘vedute’ of Rome like this view are rare. In this drawing, several important symbols of modern Rome can be identified around Piazza Colonna: the Palazzo Chigi and the Curia Innocenziana to the right, the Residenza di Monsignor Vicegerente at the centre, and the Chiesa dei Santi Bartolomeo e Alessandro dei Bergamaschi to the left. The same view appears in Panini’s painting ‘Modern Rome’, pendant to Ancient Rome, both in the Louvre [no.R.F. 1944-22; F. Arisi, ‘Gian Paolo Panini, e i fasti della Roma del’700’, Rome, 1986, no.500, ill.]. Other versions of these well-known views can be found in the Metropolitan Museum of Art, New York [nos 52.63.1 and 52.63.2], the latter showing the Piazza Colonna from a different viewpoint, and in the Museum of Fine Arts, Boston [no.1975.805], also showing the Piazza Colonna from a different angle. 

KEN HOWARD OBE RA (1932-2022) watercolour and bodycolour – semi nude woman reclining on a bed, entitled verso on Royal Society of Painters, Bankside Gallery London label ‘Seule’, signed and dated lower right 3/88, exhibition label verso, 12 x 17.5cmsProvenance: RWS Bankside Gallery, London; Private collection South WalesComments: framed and glazed. Sealed in frame and glazed. Glass needs cleaning, but the painting looks to be in good condition. Partial label on the reverse for Royal Society of Painters in Watercolours Bankside Gallery.

Johan Barthold Jongkind (Dutch, 1819-1891)Sortie du port de Honfleur (Leaving the port of Honfleur) Signed and dated 'Jongkind 1866' (lower right)Oil on canvas 58 x 80cm (22 13/16 x 31 1/2in).Footnotes:ProvenancePrivate collection, France;Anon. sale, Hotel Drouot, Paris, 11 March 1988, no. 56;Kunsthandel Ivo Bouwman B.V., Den Haag;Private collection, The Netherlands;Kunsthandel Ivo Bouwman B.V., Den Haag.ExhibitedLondon, Stoppenbach & Delestre, French XIXth and XXth Century Paintings, 1989, no. 16.Dordrecht, Johan Barthold Jongkind, 28 October 2017-27 May 2018.LiteratureVictorine Hefting, Jongkind, Amsterdam, 1992, p. 88, illustrated.Anne-Marie Bergeret-Gourbin, Jongkind au fil de l'eau, Paris, 1994, p. 13, illustrated.A. Stein, S. Brame, F. Lorenceau and J. Sinizergues, Jongkind: Catalogue critique de l'ouevre: Peintures, tome I, Paris, 2003, no. 436, illustrated p. 193.Often described as the Father of Impressionism, Johan Jongkind was born in Lattrop, one of ten children, and showed real artist merit from an early age. Jongkind enrolled at the Academie voor Beeldende Kunsten in The Hague in 1836 under the direction of Andreas Schelfhout, and in 1845 was introduced by Schelfhout to Eugène Isabey. The following year Jongkind left for Paris and settled in Place Pigalle, supported by an annual stipend from the Prince of Orange. By 1850, Jongkind was exhibiting at the Paris Salons, but he chose to show his work in the sections devoted to French artists, rather than acknowledge his Dutch heritage. His increasingly avant-garde style, characterised by short rapid brushstrokes (which was to be so influential on the Impressionists) was not popular with the critics, and led to the artist experiencing intense periods of self-doubt which led to alcoholism and financial insecurity. In 1855, following the death of his mother and the withdrawal of the stipend, Jongkind returned to Holland. However, he had not been forgotten by his friends in Paris and in 1860 a group of around 80 artists led by Camille Corot and Charles-François Daubigny arranged a sale of their work to raise funds to enable him to return to France. Upon his return he settled in Montparnasse where he became friends with Joséphine Fesser-Borrhee. This was the beginning of a critical and lifelong relationship that provided the artist both moral and, probably, financial support, and gave him the confidence to pursue his work even in the light of criticism and rejection from the Salon.In 1862 Jongkind became a member of the Société des Aquafortistes. The importance of this society was not only that it promoted etching as a serious art form, but because it also was an early model of cooperation among independent artists whose work straddled the line between mainstream academic taste and experimental exploration. He also met Claude Monet while visiting Normandy. 'His painting' Monet recalled, 'was too new and too artistic in tone to be rightly appreciated in 1862. Also, no one knew less than he how to show one's qualities. He was a good man, very simple, speaking very bad French, and very shy...He asked to see my sketches, invited me to go work with him, explained to me the how and why of his manner and completed the teachings I had received from [Eugène] Boudin. From this moment on [Jongkind] was my true master, and it is to him that I owe the definitive education of my eye.'1Two years later Jongkind was working again with Monet in and around Honfleur - where the present lot was painted in 1866. Monet was impressed by his working method of making sketches en plein air to be used as notes for when back in the studio. Similarly, his habit of painting the same scene at different times of the day or in different weather conditions was to have a profound effect on Monet.Still, Jongkind failed to find favour with the critics in Paris and he was rejected again from the Salon in 1873. He determined to leave the capital and by the 1880s, he was spending the summer months in the south of France where his landscapes, often in watercolour, proved more popular and sales increased. But this respite was short lived as by early 1891, fuelled by alcoholism and depression, his mental state had deteriorated. He was admitted to a psychiatric hospital in Saint-Egrève and died in February 1891.1F. Thiébault-Sisson, 'Claude Monet, an Interview' Le Temps, Paris, November 27, 1900, p. 3.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

AMATEUR WATERCOLOUR PAINTING PORTFOLIO & QUANTITY OF ART EXHIBITION RELATED EPHEMERA, 25 x paintings, only one bears a signature 'B C Lewis', believed to be one of two artist sisters local to the Colwyn Bay area, 28 x 38cms the signed artwork, 38.5 x 30cms the largest, the exhibition ephemera includes six entrance tickets to the Chester Art Students Union Christmas Social, all showing pre decimal admission prices, exhibition leaflets and ephemera include Sickert, Beryl Cook, Wilf Roberts, Philippa Jacobs, L S Lowry, notable masters ETCProvenance: private collection Conwy

Chinese watercolour painting set, in a metal cased labelled Sirius.

Lillian Sheppard - watercolour painting 'girl with braids'. Signed and dated 1908, bottom right. Framed and glazed. 15cm x 19cm

Watercolour painting. Landscape. Signed indistinctly lower right. H.48 W.56 cm.

Watercolour painting. Titled 'The Crofters Hut'. Signed 'A. Neochell'?. Probably early twentieth century. Framed and glazed. H.41 W.35 cm.

A Chinese watercolour painting on rice paper. Still life, flowers. Probably late nineteenth century. H.36 W.24cm.

Hayashi Michkiken (Japanese late 20th century), watercolour scroll painting depicting a tiger and bamboo, inscribed and dated 64th year Showa for 1986, 119 x 40cm

mixed media on paper, signed mounted, framed and under glass image size 56cm x 76cm, overall size 78cm x 97cm Note: David Martin sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.

Jepson (20th Century), chalk on board, A portrait of a North American Indian, signed and dated '01 to the lower left, 53cm x 60cm, a watercolour of gorilla heads, a still life painting on canvas, and an unframed map of Westmorland and Cumberland (4)

‡ SIR KYFFIN WILLIAMS RA watercolour - coastal scene with another light pencil sketch of a horse verso , 37 x 49cmsProvenance: private collection, Cardiff, letter from previous owner Mrs B Lloyd-Williams explaining that her husband received the painting as a gift from Sir KyffinComments: framed and glazed, ready to hang

A Chinese watercolour on silk painting of two butterflies above peonies and chrysanthemums - second half 20th century, artist's red seal mark stamped lower left, 14¾ x 12in. (37.5 x 30.5cm.), the plain oak frame 47.75 x 37.5cm.; together with a pair of Japanese woodblock prints of birds, c.1890, 6¼ x 8½in. (16 x 21.5cm.), the black frames 24.75 x 31.75cm. (3)

Thomas Groves (fl. 1881 - 1889) - At Sheringham - a late 19th century Victorian watercolour painting depicting boats in a harbour. Groves was known for his artworks around Leicestershire, Lincolnshire and Norfolk. Signed lower left hand corner. Framed and glazed. Measures approx. 25cm x 16cm. 

Sam Garratt (British, 1864-1946) - A early 20th century landscape watercolour on paper painting of a harbour scene by English painter Sam Garratt. The watercolour depicting fishing boats in the foreground & houses upon hill in the background. Signed centre left. Framed & glazed. Measures approx. 26cm x 36cm, 50cm x 60cm to include frame.

Christa Gaa (German school, 1937-1992) - Tuscany in Autumn - a mid 20th century watercolour & gouache landscape painting. The painting depicting an autumnal field in Italy with blue skies. Unsigned by artist, label to verso signed by painter Ken Howard, the artist's husband. Measures approx. 26.5cm x 18cm, 44cm x 35cm. 

Jacqueline Rizvi RWS NEAC (British school, b. 1944) - Lanterns in the Garden; a souvenir of Sargent's Carnation, Lily, Lily, Rose - a late 20th century watercolour painting study. The study depicting shadowy figures dancing at dusk. Signed and dated 1990 lower right hand corner. Framed and glazed (glass a.f.). Measures approx. 28cm x 20cm, 52cm x 44cm to include frame.

William Linton (English school, 1791-1876) - Freshwater Cliffs - a 19th century Victorian watercolour painting. The artwork depicting three people standing atop a cliff at the Isle of Wight. With Sabin Gallery label to verso. Framed and glazed. Measures approx. 24cm x 17cm, 46cm x 37cm to include frame.

Roland Vivian Pitchforth (British school, 1895-1992) - two mid 20th century watercolour landscape paintings. One a maritime painting depicting Loch Alsh / Ailsh, the other a countryside landscape depicting fields & cows. Each signed lower right. Larger to measure approx. 27cm x 21cm,  49cm x 42cm to include frame. 

John Newberry (b. 1934) - Coutances Cathedral - a late 20th century watercolour painting depicting Coutances Cathedral, France. Signed to lower right hand corner. Measures approx. 23cm x 18cm, 53cm x 40cm to include frame. 

Francis Bowyer (British school, b. 1952) - a late 20th century watercolour landscape painting. The painting appearing to depict a snowy scene. Signed & dated 1991 to the lower right. Framed and glazed. Measures approx. 30cm x 23cm, 50cm x 44cm to include frame.

Henri Charles Antoine Baron (1816-1885) Born: Besancon France 1816 - Died: Geneva Switzerland 1885 Member of the Societe Des Amis Des Arts The Wedding Party - Watercolour and Pencil is similar in composition to the painting of the Ballet “Les Noces De Gamache” which he painted in 1849. He was notably  commissioned by the Empress Eugenie to portray the festival at the Palais De Tuileries.   Painting is In good condition with accompanying catalogue information on Old Master Drawings from the Arts Council 1962. Size: Approximately 28cm x 82cm (watercolour only, not including border or frame)

Atrributed to Hugh MaxwellCairo street sceneSigned and inscribed, watercolour; together with an unframed oil painting of a boat before a bridge, signed 'G. Todd'

Thomas Gainsborough RA (Royal Academy) watercolour, pen and grey ink with grey wash heightened with white, country house with figures coming down a stairway recto and a study of a house verso, watermarked with a Strasbury lily and GR approx 25.5 x 36 cms. The subject of this study is similar to the oil on canvas entitled Lodge in a Park, with children descending the steps, offered at the Christie's Old Master sale 2003, in this painting two children descend the steps accompanied by a small dog. Provenance: Property of a lady - London, anonymous sale, Christie's London, March 1975, lot 16.  -

FEI YIGENG (?/1870)LADY IN A GARDENA Chinese watercolour painting, ink and colour on silk, signed Fei Yigeng with an artist's seal which reads Yubo, framed and glazed, 70cm x 32cm.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the collection of Phillip Allen (1938-2022).

JIN QIUSHENG (19TH CENTURY)SCHOLARS UNDER A WILLOW TREEA Chinese watercolour painting, ink and colour on paper, inscribed with a date which reads wuying signed with an artist's seal, together with a stone rubbing depicting bamboo with an inscription and signatures, framed and glazed, 130cm x 51cm. (2)PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE. Provenance: from the collection of Phillip Allen (1938-2022).

WANG SU (LATE QING DYNASTY)LADY AND ATTENDANTS IN A GARDENA Chinese watercolour painting, ink and colour on paper, inscribed with a signature which reads Wang Su with two artist's seals, framed and glazed, 106cm x 50cm.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.Provenance: from the collection of Phillip Allen (1938-2022).

W.H. Boler: a gilt framed watercolour entitled 'Borrowdale, 1906' - sold with a pair of gilt framed gouache painting entitled 'Hay Tor' (indistinctly signed) and another Tor, also two F.J. Widgery landscape prints

Sarah Thompson: a framed small format gouache painting entitled 'A la Carte' - sold with a vintage Venice scene watercolour and a selection of other framed pictures

WILLIAM HYAMS (BRITISH 1878 - 1952), CHANCTONBURY watercolour on paper, signed, titled label versoframed and under glassLabel verso: Aldridge Bros, Worthingimage size 23cm x 36cm, overall size 33cm x 46cm Overall decent condition heavy dust to the glass both inside and out, residue and stains to the outer glass, there does appear to be some staining present to the painting itself around the clouds

William John Newcombe attr., Action Paintingabstrakt expressionistische Malerei in farbenfrohem Acryl auf Malpappe, signiert, rückseitig auf Rahmen bezeichnet, mit Lebensdaten, in Leiste der Zeit gerahmt, Malpappe etwas wellig, Falzmaße ca. 49 x 59 cm. Künstlerinfo: eigentlich William John Bertram Newcombe, kanadischer Maler (1907 Victoria/British Columbia bis 1969 London), lebte in Toronto, Ontario und London, lernte wohl unter Frederick Varley, war aber großteils Autodidakt, sein reiches Portfolio umfasst verschiedene Materialien und moderne Malstile, war um 1950 Mitglied und Präsident der Canadian Society of Graphic Art sowie 1947 Mitglied der California Watercolour Society, stellte unter anderem auf der Kunstausstellung Montreal (1933), der Royal Canadian Academy of Arts (1938, 1947 und 1953), der Ontario Society of Artists (1941), und der American Watercolor Society (1947 und 1948) aus. Quelle: Webseite Glenhyrst Art Gallery, glenhyrst.ca, 09/23.

Maqbool Fida Husain (1915-2011)Untitled (Horse) signed and dated 'Husain 008' lower rightpen and ink on paper21.3 x 20.3cm (8 3/8 x 8in).Footnotes:ProvenanceProperty from a private collection, India. Acquired from the artist. Husain's watercolour horses are not confined to a single style or aesthetic; they reflect his evolving artistic journey. His horses range from meticulously detailed renderings to more abstract and expressive interpretations, each offering a unique perspective on this timeless subject. This diversity of approach showcases his ability to adapt and innovate within the realm of watercolour painting. In Untitled(Horse) Husain invites us to experience the beauty, energy, and spirit of the magnificent creature. Depicted singularly, he is drawn as though charging towards us from the top right corner. Characteristically, the hooves are not depicted and yet the intensity of the horses movement can be felt coming off the composition. The muted colours of blues and blacks aids this burst of energy. Typically, a blue moon is considered to be a powerful time to set intentions, release negative energy and manifest abundance. Husain's horses are positive creatures, and his extensive knowledge would likely have played a part in deciding the colour palette employed to disseminate his message.To see a similar work sold in these rooms, see Bonhams, Modern & Contemporary South Asian Art, 6th June 2023, lot 29.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Watercolour painting of French Partridges by James Stinton 1870-1961. With frame 42cm x 41cm

An Early oil on canvas portrait of a young man 33cm x 27.5cm , together with a small french watercolour painting 27.5cm x 20.5cm. (C)

[TURING (ALAN)]TURING (ETHEL SARA) 'Dawn at Bethlehem', watercolour on card, toning, signed on the image ('E.S. Turing'), mounted, framed and glazed, label on verso with title in blue ink, and 'Drawing Room' in another hand, image to view 240 x 340mm., [c.1936-37]Footnotes:A watercolour view of Bethlehem by Alan Turing's mother Sara, executed during a tour of Palestine she undertook in late 1936 to early 1937.Following her schooling at Cheltenham Ladies' College Sara spent six months at the Sorbonne to study music and art, after which she returned to India for seven years, spending her time 'driving out in carriages to leave visiting cards, painting in water-colours...' (Andrew Hodges, Alan Turing: The Enigma, 1983), prior to marriage to Julius Turing in 1907. By 1917, with her husband abroad for work and her first son John at boarding school, she was living in St. Leonards, Sussex 'with only Alan [aged five] about her... Church-going was one of her favourite pastimes... [and] Alan was dragged every Sunday for the communion service... Mrs Turing also pressed on with her water-colours, for which she enjoyed a definite talent' (Hodges, idem).Provenance: Sara Turing (1881-1976); possibly Alan Turing; Robin Gandy (1919-1995), mathematician, close friend and executor of Alan Turing; bequeathed to Wolfson College, Oxford.For further information on this lot please visit Bonhams.com

ATTRIBUTED TO TANG YIN (QING DYNASTY) LANDSCAPEA Chinese watercolour painting, ink and colour on silk, depicting a mountainous river landscape with a scholar on a bridge, with an inscription of a poem and a signature which reads Tang Yin, two artist's seals and one illegible seal, 64cm x 29cm.唐寅（款） 林間訪友 設色絹本 立軸題識：塵世茫茫少聞地，卻將亭閣水心安，風來月到無人管，惟有幽人得時倚。吳郡唐寅。鈐印：唐寅私印、唐伯虎。

ABANINDRANATH TAGORE (1871-1951) C.1900-30Three Indian paintings, the first in watercolour and gilt on card, depicting a young girl holding a mandarin duck, signed in Bengali and with a red seal mark, 32.8cm x 23.5cm; together with a painting of an elderly man wearing a blue shawl, the reverse with pencil sketches, one possibly a self-portrait of Tagore, inscribed 'Norman Blount' on the back of the mount, 17.5cm x 13cm; the third a miniature portrait in Persian style, depicting a man sitting in a garden, holding a small cup in one hand and reading a book, mounted on paper with gold flakes, 8.2cm x 6cm; together with a print of a woman and child, the toddler climbing on a sculpture of a buffalo and with a small goat behind him, also signed Tagore in Bengali with a seal mark, 28cm x 19cm. (4) Provenance: from the collection of Norman Blount, 1875-1930. Norman Blount was a jute broker, as well as the joint secretary (together with Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President. 阿巴寧哲納·泰戈爾（款，1871-1951） 1900-30年代 來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。

ABANINDRANATH TAGORE (1871-1951) A MOONLIGHT MUSIC PARTY C.1906 An Indian painting, watercolour and pencil on card, depicting seven figures, one a beauty playing the sitar and her partner, the drum; the others comfortably seated against large cushions, relaxing and listening to them whilst drinking from small cups; signed 'A. Tagore.' lower right corner; pasted on a paper sheet,16.8cm x 23.4cm; together with a preparatory picture, in pencil and colour, with a composition similar to the right-hand side of the Moonlight Music Party, mounted on board, 17.1cm x 13.4cm. (2)Provenance: from the collection of Norman Blount, 1875-1930. Norman Blount was a jute broker, as well as the joint secretary (together with Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President. Official chromoxylograph copies of 'A Moonlight Music Party' were commissioned by the Indian Society of Oriental Art, signed by the artist, and stating that the original was owned by N. Blount. One is in the collection of the Victoria & Albert Museum, London, access. no.IS.300-1951. Also, see the Victoria & Albert Museum, access. no.IS.305-1951, for another painting by Abanindranath Tagore entitled 'Music party' with a similar subject. The sitar player depicted in this painting is very similar to the one in this lot. 阿巴寧哲納·泰戈爾（1871-1951） 月光音樂會 1906年 來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。

ATTRIBUTED TO ABANINDRANATH TAGORE (1871-1951)KRISHNA AND YASHODAC.1900-30An Indian painting, watercolour on card, depicting the God and his foster mother sitting by a fire; both holding an oil lamp and pouring oil into the fire, with metal vessels surrounding them; the reverse with a paper label, probably from an exhibition catalogue, reading: '43. Krishna and Yasoda. (Lent by Dr. A.K. Coomaraswamy D.Sc.) Immediately after his birth, Krishna was taken away by his father Vasudeva, and left in charge of Yasoda in place of a daughter born to her the same night.', and inscribed 'Norman Blount' in pencil; mounted on card, 25.5cm x 22.5cm.Provenance: from the collection of Norman Blount, 1875-1930. Blount was a jute broker, as well as the joint secretary (together with Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President. Previously in the collection of Dr A K Coomaraswamy (1877-1947). Coomaraswamy was a Ceylonese metaphysician and Indian art historian sometimes described as 'the groundbreaking theorist who was largely responsible for introducing ancient Indian art to the West'.阿巴寧哲納·泰戈爾（款，1871-1951）黑天1900-30年代來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。

ATTRIBUTED TO ABANINDRANATH TAGORE (1871-1951)SHIVA AND PARVATIC.1900-30An Indian painting, watercolour and pencil on card; the two Gods depicted seated under a white moon crescent, the divine couple enlaced, Parvati holding a lotus flower; mounted on board, with a paper label to the back reading: '10. Siva and Parvati (Lent by Mr N. Blount.) Siva seated with Parvati on Mount Koilash foretelling her the events of the coming year. Hindu Almanac'; 27.8cm x 19cm.Provenance: from the collection of Norman Blount, 1875-1930. Blount was a jute broker, as well as the joint secretary (together with Abanindranath Tagore) of the Indian Society of Oriental Art, which was founded in 1907 in Calcutta, with Lord Kitchener the Society’s President.阿巴寧哲納·泰戈爾（款，1871-1951）濕婆與雪山神女1900-30年代來源：諾曼·布朗特（1875-1930）收藏。諾曼布朗特曾是一個黃麻經銷商，與藝術家泰戈爾一起擔任了印度東方藝術協會的聯合秘書（1907年於加爾各答成立），而霍雷肖•赫伯特•基奇納元帥(1850-1916)為協會主席。

Kalki avatar Kalighat, Calcutta, circa 1870watercolour with some silver highlights on paper laid down on card, inscribed in an English hand at lower left Kalki, 10th Incarnation of Vishnu, verso with the remains of a longer handwritten note, perhaps in the same English hand 425 x 288 mm.Footnotes:ProvenanceBy repute, formerly in the collection of David Seyfort Ruegg (1931-2021), scholar of Buddhism.Private UK collection.A previous English owner has labelled the painting Kalki avatar, although the tenth avatar is more typically portrayed with a sword rather than a spear. A very similar figure in a painting in the Herwitz Collection illustrated by J. Jain, Kalighat Painting, Ahmedabad 1999, p. 93, fig. 95, wearing the same crown, and this time brandishing a sword, is described as Lakshmibai, Rani of Jhansi (on the basis of the caption on a painting in the Pushkin Museum) - though ironically, as noted by Jain, an English hand has labelled the Herwitz painting Queen Victoria, because of the British-style crown.For further information on this lot please visit Bonhams.com

Nasr-al-Din Shah Qajar (reg. 1848-96) Qajar Persia, second half of the 19th Centuryoil on canvas 48 x 37 cm. Footnotes:An attribution to Mirza Ja'far has been suggested. For two paintings attributed to this artist, see Christie's, Islamic Art, 9th October 1990, lot 18, a portrait of Nasr al-Din Shah, dated AH 1291/AD 1874-75; and Christie's, Art of the Islamic and Indian Worlds, 10th October 2006, lot 149 (a Qajar minister). Karimzadeh Tabrizi describes him as Mirza Ja'far, educated at the College of Arts (Dar al-Funun), later known as Muhammad Ja'far Khan, a teacher of painting at the College. His first teacher was Sani' al-Mulk from whom he learnt his initial painting technique. He worked in watercolour and siyah qalam. His four recorded works are dated between AH 1281/AD 1864-65 and AH 1304/AD 1886-87, and consist of two paintings, a sword and a lacquered pen box. (See Karimzadeh Tabrizi, vol. 1, 1985, p. 130).Important Notice to BuyersSome countries, e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of works of particular origins. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) and Syrian origin. It is each buyer's responsibility to ensure that they do not bid on or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

Landreth Leaper (1947-) - The Flood Bristol - A 20th century watercolour painting entitled 'The Flood, Bristol'. To depict the great flood of 1968, Bristol. To depict the Bristol Suspension Bridge as viewed from Cumberland Basin. Framed and glazed. Measures 60cm x 48cm.

Patrick Collins and Vincent Neave - Two 20th century paintings to include a watercolour of rural British countryside, alongside an acrylic painting by Bristol Savages artist, Vincent Neave entitled 'To See Her is To Love Her' dated 27/11/96. Both signed by the artist. 

Aubrey R. Phillips (British 1920 - 2005). Watercolour painting. Beach scene. Framed and glazed. H.53 W.67 cm.

A Indian watercolour painting. Twentieth century. Framed and glazed. H.57 W.42 cm.

Watercolour painting on paper laid onto card. Probably nineteenth century. Well detailed with a floral pattern running through the man's clothing. H.42 W.30 cm.

John Glover (1767-1849) RBA, watercolour, A Northern Landscape. With stone village (some timber framed) and mountain to background. Indistinctly signed lower left (obscured by mount), 30.5 x 40.4 cmWhilst English-born, he later emigrated to Van Diemen's land (Australia) and became a pastoralist during the early Colonial periods, and was dubbed 'The Father of Australian Landscape Painting' Condition Report: It has been put behind a mount which is visible, ( this obscured the signature hence why Iooked )No tears,or restorationBought from a picture dealer who did not take it out of the frame. I did as I thought it good enough to be signed and the right age. After looking I saw it was signed under the mount hence why I I can say it is by Glover worth a better lookthe new frame is birds eye maple and not original There s no actual title but irrefutable.

A framed and mounted Watercolour and ink painting "The Bell Tower by Brockweir", signed J. Sweetingham, 27 1/2" x 22".