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A collection of maritime related pictures including an early 20th century oil painting on board of fishermen landing the catch, 44 x 61 cm approx, an early 19th century coloured engraving of a squadron of battle ships, titled A Storm Coming On, after R Dodd and dedicated to Rear Admiral Thomas Graves, 40 x 51 cm in black and gilt glass mount and frame, a further early 20th century watercolour of a five masted sailing ship on a stormy sea, 27 x 44 cm approx, a chromolithograph of HM Yacht Victoria and Albert, etc

A mid-20th century oil painting on board, bust length portrait of a woman, signed bottom right H Riemenschneider and dated 46, an early 20th century oil painting on board of children seated on a cannon on the seashore, signed bottom left Gozzard, a watercolour of a street scene with figures, signed bottom right W Sanderson and dated 1922, a black and white engraving after Helen Allingham showing two little girls in a village shop, etc

A 20th century oil painting on board of a floral still life with primulas in a glass vase by Nan C Livingston, signed bottom right N Livingston, 27 x 32 cm approx together with a watercolour study of a blue Gentian type flower, signed bottom right H Brun, 27 x 41 cm approx and a further oil painting on canvas of a still life with vase of leaves and berries, signed bottom right Violet Harrison, 50 x 60 cm approx, all framed

Robert Morden, The East Riding of Yorkshire hand coloured map, a watercolour, an oil painting and a photograph (4)

Large framed print together with English School 19th century watercolour After J.M.W. Turner - Maritime painting (2) Condition report: see terms and conditions

A fine 1930's architects drawing and watercolour wash painting of 'Hooper's, Torquay', formerly called 'J.F.Rockhey Ltd', signed S.B.Higgott LRIBA, Newton Abbot, also with indistinct signature probably by the watercolourist, 61cm x 102cm, (John Fry Rockhe

A framed watercolour of mountains and lake signed Peter B (16 x 25cm) together with a framed unsigned oil painting of road through woods

A watercolour - "Dunstanburgh Castle", signed, inscribed and dated 2005 verso; a pastel painting - Dunstanburgh Castle, by D***. (2)

Assorted prints, tapestry, watercolour and an oil painting of a street scene

Ted Bates, 'A wet day, Gallowtree Gate, Leicester', signed watercolour, 20cm x 35cm; eight watercolours, some of local interest, and a painting signed A.W.May, (10).

A watercolour painting by Orlando Norie “Guards Departing for Crimea” showing the Grenadier Guards in front of Buckingham Palace, their bearskins on the end of their rifles raised in salute to H.M. The Queen on the palace balcony, signed “O. Norie”, well mounted and framed, 27” x 21” overall. Very Good Condition. Plate 11

Attributed to James Holland (British 1799-1870) "Venice"Watercolour, signed, framed and glazed, 17x24cms CONDITION REPORT: lot 391 - Size refers to the picture only - size in frame 29x39cmsAttribution is based on name on mount, however painting appears to have a very indistinct signature in the lower right corner.Significant foxing to sky area and mountyellowing to sky areano tears/rips/water damage.

Harden (John, 1772-1847). Old Wool Carding Mill, Ambleside, 1841, watercolour on paper laid down on card, inscribed to verso in ink 'Old Wool Carding Mill, Ambleside, part of Rowld. Suarts and Mr Edwd Partidges concerns in 1804 & afterwards - sketch from Nature - presented by John Harden, Fieldhead, to Miss Harrison, 1st March 1841', 14 x 19cm (5.5 x 7.5ins) Irish-born artist John Harden lived at Brathay Hall, near Windermere, for thirty-one years, and then at Field Head House, near Hawkshead. He showed an early aptitude for painting and drawing, and he moved in artistic circles, entertaining a variety of visitors to the Lake District, including Joseph Farington and John Constable. (1)

Four original watercolour painting by ES Cook, all signed with a description and also signed on the back, all four are framed, mounted and glazed23 x 23 cm, 26 x 34 cm, 35 x 25 cm, 31 x 26 cm

*Roberts (David, 1796-1864). St. Paul's, Antwerp, watercolour over pencil on card, laid down onto card, showing figures in a church interior, sheet size 51.5 x 40.5cm (20.25 x 16ins), later gilt frame, glazed, with labels of Frost & Reed to verso giving the artist's name and title 'St. Paul's' David Roberts was evidently much taken with the church of St. Paul's in Antwerp, painting at least four versions of the view of the main chancel. The artist first visited the city in 1827, but it was not until the autumn of 1845 that he recorded painting the church, writing in a letter to his daughter, Christine Bicknell, that he was working "now upon a magnificent interior. The church of the Dominicans with a Splendid Alter [sic] I think it will be both novel and good". A larger version in oils, painted for Robert Vernon in 1847, is now part of the permanent collection at the Tate Gallery. George Virtue published a steel engraving in the Art Journal in 1850 which matches the present work. (1)

Bob Gower. June 2003. A framed and glazed watercolour painting of Bristol docks entitled ' Bristol Mooring '. Measures 22cm high x 18cm wide.

MAUD SALMON. A signed watercolour painting of a coastal scene being framed and glazed .

Trails of Glory in His Wake’ (40 x 30cm) Oil on Canvas by Elizabeth Crabtree – 1 of 7 lots Elizabeth enjoys the process of painting and makes work through exploration of a variety of media via varied subject matter. To see a variety of work created by this painter in oils, acrylics, watercolour and on glaze, please visit: http://elizabethcrabtree.weebly.com/ and her Facebook Art page Elizabeth Crabtree Fine Art

CHARLES HENRY SIMS RA (BRITISH 1873 - 1928),COMING HOMEoil on canvas, signed49.5cm x 74.5cmFramed.Note: Born in Islington, London, Sims trained at the South Kensington College of Art, before moving to Paris for two years at the Académie Julian. In the need of bursaries to support himself, he moved back to London and enrolled at the Royal Academy School in 1893. In 1895 he was expelled. In 1897 he married Agnes, a daughter of the Scottish painter John MacWhirter. From 1896, he developed an increasingly successful career, first exhibiting The Vine at the Royal Academy in 1896, and selling another painting, Childhood to the Musée du Luxembourg. An expert at portraying sunlit landscapes, he specialised in society portraits and neo-classical fantasies, typically idealised scenes of women, children or fairies in outdoor settings. In 1906 a one-man show at the Leicester Galleries brought him critical and financial success, allowing him to relocate to the rural Fittleworth. In 1910 he was elected a fellow of the Royal Watercolour Society, and in 1915 to the Royal Academy. However, the First World War was a traumatic experience for Sims. In 1914, his eldest son was killed, and he worked for a time as a war artist. His Wikipedia page reveals a life of controversy and fame and he spent time in America before returning to the UK. On 13th April 1928, experiencing hallucinations, paranoia and insomnia, brought about by the horrific scenes he had witnessed as an official war artist and by his son's death, Sims committed suicide by drowning himself in the River Tweed near his home in St. Boswells, Scotland.

Artist: Ercolina Visca Artwork Title: Natura morta con Violino Size: 150 x 90 cm Media: Oil on canvas Artist Info: Ercolina Visca graduated from the Liceo Artistico of Torino and is a member of the Anglo-Italian Academy of Art. Visca studied under Maestro Renzo Roncarolo, professor at the Institute of Fine Art of Vercelli, and became the heir of this great Italian artist. She uses several techniques of painting including pencil, watercolour, pastel and more. Exhibitions: Her work has been exhibited all around Europe including: Lord Leighton Museum; London Art Biennale; Chianciano Biennale; International Art Awards hosted by the Chianciano Art Museum.

Artist: Ercolina Visca Artwork Title: Untitled Size: 120 x 120 cm Media: Oil on canvas Artist Info: Ercolina Visca graduated from the Liceo Artistico of Torino and is a member of the Anglo-Italian Academy of Art. Visca studied under Maestro Renzo Roncarolo, professor at the Institute of Fine Art of Vercelli, and became the heir of this great Italian artist. She uses several techniques of painting including pencil, watercolour, pastel and more. Exhibitions: Her work has been exhibited all around Europe including: Lord Leighton Museum; London Art Biennale; Chianciano Biennale; International Art Awards hosted by the Chianciano Art Museum.

Artist: Ercolina Visca Artwork Title: The couple Size: 150 x 90 cm Media: Oil on canvas Artist Info: Ercolina Visca graduated from the Liceo Artistico of Torino and is a member of the Anglo-Italian Academy of Art. Visca studied under Maestro Renzo Roncarolo, professor at the Institute of Fine Art of Vercelli, and became the heir of this great Italian artist. She uses several techniques of painting including pencil, watercolour, pastel and more. Exhibitions: Her work has been exhibited all around Europe including: Lord Leighton Museum; London Art Biennale; Chianciano Biennale; International Art Awards hosted by the Chianciano Art Museum.

A Chinese watercolour painting on paper, 20th Century, depicting a sage and boy attendant resting on a rock, watching two red capped cranes on the other side of a stream, eleven lines of black text and iron red seal marks to upper right corner, approx 44.5cm x 69cm, framed and glazed.

An Indian watercolour and gouache painting on paper, 20th Century, depicting a figural scene within a foliate border, approx 30cm x 23.5cm, framed and glazed.

FORE-EDGE PAINTING. - MOLIÉRE. Oeuvres. Paris: [n.d. but circa 1890.] 2 vols., 8vo (175 x 110mm.) Portrait frontispiece to vol. I. (Minor browning, light spotting to first few leaves.) Contemporary calf gilt, the upper covers with centrally placed 'Lansdown, Bath' crest, spines gilt, g.e. with a watercolour fore-edge painting of Worthing seafront to each volume. Provenance: Violet Dudgeon (school prize certificate and binding).

Chinese School - Watercolour on silk scroll painting - "Wei T'o" - A temple guardian model standing holding a sword, 57.5ins (146cm) x 28ins (71cm) (19th Century) Note : See Keith Stevens' "Chinese Gods: The Unseen World of Spirits and Demons", page 91

George Nicholl, watercolour painting of Maid & lady taking tea in the bath in painted wood frame, 54 x 42cm

A framed and mounted Watercolour of a Vase of Roses signed bottom right Tatarinov 1993, 22" x 26". German Alekseevich Tatarinov was born in Leningrad in 1925, and died in 2006. A member of the Russian Union of Artists, he is known for landscape, still life and genre painting.

Featherstone Robson (1880-1936)'Ludgate Hill London'Signed print, 22 x 34cm, together with a James Maclaren print of Largo, Fife, and an F Vivares engraving of Peasants by the River from an original painting by F Luccarelli, Harry Eliott (Charles Edmond Hermet) (1882-1959) 'The Manchester Coach' Chromolithograph, 25 x 16cm, and Nina Brisley (1898-1978) 'Book Illustration from Radiants Reading' watercolour, page 207, signed with monogram lower left, 18 x 11.5cm (5)

Pair of Fine Prints of Exotic Birds after Gould, Large Watercolour of Eastern Scene Signed, Stanley Charles Rowles Etching ' Boat on Thames in London, Drawing of Village signed Betty Haggard, Drawing by Anne Ramsay and Painting of Golden Retriever

PAUL A NICHOLAS French Partridge in moorland beside a rush fence, Watercolour painting, signed and dated 1972, in gilt and glazed frame, 52cm x 77cm

WILLIAM WELLS QUATREMAIN (1857-1930) "Warwickshire River Scene" believed to be near Hampton Lucy, Charlecote, Watercolour painting, 22cm x 35cm, gilt framed and glazed, (see labels verso, including gallery label ex: Ferneyhough and Elizabeth Creek C ollections

WILLIAM WELLS QUATREMAIN (1857-1930) "Anne Hathaway's Cottage" Shottery, Stratford-upon-Avon, figures depicted in the lane with wheelbarrow and hens, Watercolour painting, signed, believed to be circa 1907, 24cm x 35cm, in gilt frame, mounted and gl azed

WILLIAM WELLS QUATREMAIN (1857-1930) "Entrance door to Holy Trinity Church, Stratford-upon-Avon", Watercolour painting, signed, 17cm x 26cm in glazed frame

Private Ernest Cross Smith (266156 Royal West Kents died 1918), watercolour painting entitled "Ulsoor City Temple, Banglahore, India", 23.5cm x 16cm, biographical details verso confirming Private Smith is buried in Dalhousie Military Cemetary Plot 5 Grave 26, oak frame

ENGLISH SCHOOL (EARLY 19TH CENTURY) Portrait of a gentleman wearing black overcoat seated in an interior by a window with distant view of a bridge, watercolour, 16 x 12.5cm, maple frame; and an oil painting with couple seated in a landscape, 14.5 x 12cm, rosewood frame (2)

Harry Stinton: a painting of two Highland cattle in a naturalistic landscape signed lower right 'H Stinton', watercolour 10cm x 13cm, glazed and in a gilded slip frame

Tony O'Malley HRHA (1913-2003) NASSAU RED, 1980 gouache, pastel and watercolour on card initialled lower right; dated [3/80] lower left; signed, dated and titled upper right 20¼ x 30½in. (51.44 x 77.47cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now.. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 L

Harry Kernoff RHA (1900-1974) THE METRO, PARIS, 1931 oil on board signed lower right; signed, titled, dated and with artist's address [13 Stamer Street Dublin] on reverse; also with Apollo Gallery label on reverse 24 x 29½in. (60.96 x 74.93cm) Adam's, 28 May 2003, lot 52;Private collection Filled with bright vibrant colour, The Metro, Paris, evokes a leisurely sunny day spent in the French capital. In the foreground, two figures sip green and red liqueurs, while the face of a man in straw boater is concealed. Overhead, the fringe of the café's awning hangs down, with the word 'cognac' clearly legible. Beyond the café, tram tracks and overhead wires criss-cross the composition: in the distance a man alights from the Line 5, and a larger, red metro moves across the metal aerial track. To the right of the composition, an Art Nouveau-style entrance can be seen, with the name Jean Jaurès visible in red lettering. Elsewhere, the composition is populated with characters typical of Kernoff's urban scenes, such as the woman walking purposefully with a fresh baguette under her arm, or the poodle, complete with an elaborate red bow. Kernoff had first visited Paris in 1923, using part of his £50 scholarship from the Taylor Bequest Awards to fund a trip abroad. However, it seems likely that he visited the city again in 1931: a pencil sketch in the National Gallery of Ireland is signed and dated July 1931, and in 1932, he exhibited six Parisian watercolours at The Gallery, 7 Stephen's Green. This collection included Canal, Jean-Jaurès, Paris, 1931 (Whyte's, 28 November 2011). (1) 1931 was an auspicious year for the artist: a large painting, Jupiter and the Muses, was accepted to the Royal Academy, London, and received press coverage in Ireland and Paris. (2) In March of the same year, the artist's first solo exhibition in London had taken place at the Gieves Gallery, Old Bond Street. At the 1932 Dublin exhibition, and at a further London show in 1938, Kernoff exhibited a work titled The Metro, Jean Jaurès, however the low catalogue prices suggest that these were smaller watercolour paintings. (3) A work titled Metro, Paris 1931 was also exhibited at the Harry Kernoff Memorial Exhibition at Municipal Gallery (now the Dublin City Gallery the Hugh Lane) in 1976-77, listed as a watercolour measuring 11.4 by 16 inches. (4) It was not unusual for the artist to complete multiple versions of the same composition, in different media, and so it is possible that a watercolour version of this painting is extant. In 1957, Kernoff exhibited a work of the same title priced at £65, suggesting a larger painting in oils - such as the present work. The style and execution of The Metro, Paris is redolent of other works from the 1930s - particularly the economical use of paint - and is a characteristic example of his work. Dr Kathryn MilliganESB Fellow ESB Centre for the Study of Irish ArtNational Gallery of IrelandAugust 20161. Harry Kernoff, Exhibition of Pictures, The Gallery, 7 Stephen's Green, 2 - 14 May, 1932. 2. Articles were published in several French art magazines, see Harry Kernoff Papers, National Library of Ireland, Ms. 20, 928. 3. See footnote 1 above, and Harry Kernoff, RHA, The White Gallery, London, 28 April - 12 May 1938. 4. The Harry Kernoff Memorial Exhibition, the Hugh Lane Municipal Gallery of Modern Art, 14 December 1976 - 30 January 1977. L

Tony O'Malley HRHA (1913-2003) ABSTRACT, 1980 gouache over watercolour and pencil signed with initials and dated [7/80] lower left 9¾ x 13¾in. (24.77 x 34.93cm) Collection of George and Maura McClelland Tony O'Malley's work came to the attention of art lovers in Ireland comparatively late in the artist's life. He spent the 1960s painting in Cornwall, absorbing the prevailing aesthetic of abstraction to his own ends. He did exhibit, but much work remained unsold. His creative harvest from the 1970s was magnificent. Marriage to Jane Harris in 1973 led to winters in the Bahamas, where he began painting outdoors on canvas. Sales however remained sporadic. O'Malley's life changed when Northern artists, F. E. Mc William and William Scott, introduced him to Belfast dealer, gallerist and collector, George McClelland in 1979 or 80. In the few but effective years during which he promoted O'Malley's work, George himself acquired a number of fine works. Some were loaned to the Irish Museum of Modern Art and later donated. (1) Others stayed in the family until now.. In Cottage, St Martins, 1972 (lot 66) a figurative work, O'Malley explores the possibilities of French modernism. In Jerpoint, 1977 (lot 68) O'Malley's palette is strong and dark and his shapes highly stylised. This dynamic works well as a response to the Abbey's carved figures eroded over time. The energy of the contours suggests the vital imaginative presence to the artist of these figures from the past.The McClelland collection included some experimental works by O'Malley. The tactile quality of the wool in the tapestries communicates a different but interesting atmosphere to the paintings. October and Black, 1983 (lot 60), woven by Terry Dunne in Wexford, is in fact a very blue work, the intensity of the royal blue recalling stained glass. It attests to O'Malley's abiding interest in the medieval.The superb Night Painter, 1981 (lot 57) is in the tradition of the tall, rectangular works on board in which the artist explores the interior/exterior. Strong, irregular shapes provide the framework for the textured treatment of the surface. Verdigris greens billow around the predominant slate grey rectangle which signifies night. Incised marks reflect the resistance of the board and allow the paint to achieve a variety of effects. Abstracted in form, a small white curtain is tentatively anchored by a red spot. Perhaps there is a suggestion of a tiny self-portrait in one of the richly patterned, rhythmic panels below.Travelling to the Bahamas by plane made canvas the easiest support to manage. A sense of lightness and loveliness characterises Morning Light II, Paradise Island, Bahamas, 1982 (the present lot, 53) a painting at once abstract and based in the real world. In this serene and luminous work, the artist risks using the softest of colours; baby blue and pinks and lemony yellows. He characteristically divides the painting with a central linear spine, creating an open book or butterfly on the wing format. Space on the left is more recessive and still than on the right, where brushstrokes on the blue suggest a flurry of bird life. A feeling of reverence and joy is expressed. Intimate and reflective, many of these works by O'Malley from the Mc Clelland collection are of museum quality.Vera RyanAugust 20161. The Hunter Gatherer - The Collection of George and Maura McClelland, The Irish Museum of Modern Art, Dublin, 2004 L

* EDWARD GAGE MBE RSW PSSA (1925 - 2000) FESTIVAL HANGOVER watercolour on paper, signed and dated '83 56cm x 75.5cm Mounted, framed and under glass. Note: Teddy Gage held the post of art master at Fettes College, Edinburgh. He at once found that he had a real love and gift for teaching, and spent 17 happy and successful years with the school. One former pupil has described how, as soon as he entered the art room, he was no longer a schoolboy subject to school masters, but one grown-up in full communication with another. His enthusiasm and inspiration have been spoken to by all who were taught by him, either at Fettes or at Napier College, where he was a senior lecturer from 1968 to 1986. Teddy also designed stage sets and did a great deal of illustration work, especially for the BBC in the Radio Times. Painting was, however, his continuing main love. He produced a steady flow of pictures, and had ten one-man exhibitions between 1964 and 1986, besides contributing paintings to group exhibitions in Edinburgh, London and elsewhere. Examples of his work can be seen in many public collections throughout Scotland and England. From 1960 to 1964, he was president of the Society of Scottish Artists. From 1966 till 1995, Teddy Gage was the art critic of The Scotsman, reviewing every exhibition of note in Edinburgh. He also found time to gather material for a book on contemporary Scottish painting, which was published in 1977, entitled The Eye in the Wind. Please see lots 92 & 114.

Four Framed Watercolour Paintings & Five Framed Engravings: A landscape with castle ruins by Richard Wilson RA, 5 ins x 8¾ ins (13 cms x 22 cms), in a decorative gilt frame 13 ins x 17 ins (33 cms x 43 cms). A rural landscape with stone cottages, cart & horse signed Dolcotty (?) and dated 1891, 8¾ ins x 13¼ ins (22 cms x 34 cms). A delightful folksy painting of 'North West View of Hornsey Church, Middlesex' with John Howard on his horse-drawn cart and his mule Sally behind, signed N. Lamb dated 1832 9¼ ins x 12¾ ins (23.5 cms x 32.5 cms), in a rosewood frame 13 ins x 16½ ins (33 cms x 42 cms). A marine scene with sailing boats and steamer, 9½ ins x 12 ins (24 cms x 30 cms). An engraving of a mountain landscape with figures published 1857 by George Baxter, 10¼ ins x 14½ ins (26 cms x 37 cms). A hand tinted coastal scene with coach & horses engraved by Lorieux after Ad. Van de Velde, 9½ ins x 11½ ins (24 cms x 29 cms). An oval Village scene with figures outside rural cottage 11½ ins x 14½ ins (29 cms x 37 cms). 'Times of the Day, Evening' engraved by F F Walker after Hogarth 7½ ins x 5½ ins (19 cms x 14 cms), and 'The Two Lovers' Le Blonde 1851, 4½ ins x 3½ ins (11.5 cms x 9 cms). Also a small unframed early 19th century oil on canvas: grisaille painting of a yelling gent.

A Collection of Framed Prints and a Watercolour (9). To Include; a set of three signed limited edition photographic prints by David Wrightson, a pair of Regency engravings by Robert Cruikshank entitled 'Monday after the Great St Leger' and 'The Cyprian's Ball at the Argyle Rooms' in verre eglomise mounts within black & gilt frames 9 ins x 12 ins (23 cms x 30 cms), a 19th century engraving of gentlemen drinking in a mahogany frame 10 ins x 9 ins (25.5 cm x 23 cms), an 18th century sanguine stipple engraving 'Abelard and Eloisa surprised by Fulbert' by Scorodomoff after Angelica Kauffman (A/F) 17½ ins (44.5 cms) in diameter, a hand-tinted lithograph 'Reversible Contrast TEMPERANCE & INTEMPERANCE' from the Teetotal Prints Series, 12 ins x 9 ins (31 cm x 23 cms), and a watercolour painting of moorland scene with stream and bride, 6½ ins x 10 ins (16.5 cm x 25 cms).

H Hadfield Cubley Watercolour painting of rural scene frame overall size 46cm x 54cm

H Hadfield Cubley Watercolour painting of Old Market Hall Shrewsbury in gilt frame, overall size 43 x 55cm

H Hadfield Cubley Watercolour painting of rural scene frame overall size 46cm x 49cm

H Hadfield Cubley Watercolour painting of Bear Steps, Fish Street, Shrewsbury in gilt frame, overall size 43 x 55cm

E M Booth, watercolour painting of two ladies and a girl dated 1886 and Paul Marny watercolour of Oxford scenes 1905 (2)

Harold Bennett, watercolour painting of winter landscape in wood frame, overall 65 x 50cm, Harold Bennett was a watercolour artist who joined Burgess & Leigh pottery in 1929 and worked alongside Charlotte Rhead designing various successful tableware ranges and tube lining individual art pieces and was art director until the 1950s

Harold Bennett, watercolour painting of local church and farm scene in frame, overall 47 x 56cm, Harold Bennett was a watercolour artist who joined Burgess & Leigh pottery in 1929 and worked alongside Charlotte Rhead designing various successful tableware ranges and tube lining his own designs, he became Art director and worked until the 1950s

George Nicholl, watercolour painting of Maid & lady taking tea in the bath in painted wood frame, 54 x 42cm

Harold Bennett, watercolour painting of winter landscape in painted frame, overall 66 x 53cm, Harold Bennett was a watercolour artist who joined Burgess & Leigh pottery in 1929 and worked alongside Charlotte Rhead designing various successful tableware ranges and tube lining his own designs, he became Art director and worked until the 1950s

Miss Augusta Guest (c.1880-1959) Hounds pursuing a fox, monogrammed and dated 1955, watercolour, 26cm by 37cm Miss Guest was a hound and terrier painter who according to Mary Ann Wingfield's ''Dictionary of Sporting Artists'' was much admired by Lionel Edwards and was Master of Hounds in 1907. We are grateful to Sir Robin Furness for his assistance in identifying the artist of this painting.

Thomas Bush Hardy RBA (1842-1897) ''Crossing the Sands'' signed and dated 1888, watercolour heightened with white, 31cm by 48.5cm The painting possibly depicts a location on the North East Coast

Stuart Hirst: watercolour, Northern cobbled street scene with lone figure, signed and dated 1989, 19½" x 13"; and a similar painting by the same artist

Stuart Hirst: watercolour, Northern cobbled street scene after a rain shower, signed and dated 1992, 19½" x 12¾"; and a similar painting by the same artist

KALLAGOVA PAINTING. A Greek Boat Needs Deep Water, 1997 watercolour by Inga Kallagova-Goehnner, 23 x 35cm

A FRAMED AND GLAZED ORIENTAL PAINTING ON SILK, TOGETHER WITH A FRAMED AND GLAZED ORIENTAL WATERCOLOUR

ARTWORK - A beautiful watercolour painting dating from 1858, by Elizabeth Bradshaw Smith, with hand written labels stuck to the rear. Measures 43x50cm, framed.

WILLIAM C BELL - A small watercolour painting of a seascape with coastline in view. Signed William C Bell, mounted & framed. Measures 50x39cm