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Alice Boyd (British, 1823-1897) Galloway waterfall watercolour 44 x 34cm (17 x 13in) Provenance: Brought from Edinburgh to Sweden, and thence in a private collection In the mid-19th Century, Alice Boyd of Penkill Castle became involved in a romantic affair with the painter, William Bell Scott. Before long many of his artist friends such as Dante Gabriel Rosetti and William Morris visited, being inspired by the surroundings and the companionship of kindred spirits. William Bell Scott spent his time at Penkill, painting, amongst other works, a mural called `The King`s Quair`, which has become one of his best known works, around the walls of the spiral staircase. Alice invited many of Scott`s friends from the Pre-Raphaelite movement to the castle including Dante Gabriel Rosetti, Arthur Hughes, William Holman Hunt and William Morris (who is responsible for embroidered panels within the castle). Alice Boyd was one of the most interesting women artists in the Pre-Raphaelite circle, although she has inevitably been overshadowed by the figure of William Bell Scott. They met in Newcastle in 1859, when he was Head of the Government School of Design and she was looking for a painting tutor. Although Scott was married, he and Alice fell in love, and a ménage a trois was successfully established whereby Alice spent the winter with the Scotts in London (where they moved to in 1864) and they spent the summer with her at Penkill, her miniature Ayrshire castle. Christie`s held the Penkill house sale on 15 December 1992.

§ Leonard Russell Squirrell, RE, RI (British, 1893-1979) The Rialto, Venice signed lower right ""Squirrell `23, Venice"" sepia watercolour 23 x 30cm (9 x 12in) Provenance: From the collection of the late Stanley Olsen, a friend of Leonard Squirrell?s in the 1930s and to whom Squirrell dedicated his 1939 book, `Landscape Painting in Pastel`

§ Leonard Russell Squirrell, RE, RI (British, 1893-1979) The Rialto Bridge, Venice inscribed upper left ""Rialto 7.4.23"" and signed lower right ""L R Squirrell"" watercolour 23 x 16cm (9 x 6in) Provenance: From the collection of the late Stanley Olsen, a friend of Leonard Squirrell?s in the 1930s and to whom Squirrell dedicated his 1939 book, `Landscape Painting in Pastel`

§ Leonard Russell Squirrell RE, RI, (British, 1893-1979) Romantic Night, Mentone signed and dated lower left ""L R Squirrell 1933"" watercolour 21 x 36cm (8 x 14in) Provenance: From the collection of the late Stanley Olsen, a friend of Leonard Squirrell?s in the 1930s and to whom Squirrell dedicated his 1939 book, `Landscape Painting in Pastel`

§ Leonard Russell Squirrell, RE, RI (British, 1893-1979) Impression of Rouen signed lower left ""L R Squirrell ```32"" watercolour 19 x 33cm (7 x 13in) Provenance: From the collection of the late Stanley Olsen, a friend of Leonard Squirrell?s in the 1930s and to whom Squirrell dedicated his 1939 book, `Landscape Painting in Pastel` Condition appears fine.

§ Leonard Russell Squirrell, RE, RI (British, 1893-1979) The Frontier Bridge, Mentone signed lower right ""L R Squirrell 1933"" watercolour 50 x 42cm (20 x 16in) Provenance: From the collection of the late Stanley Olsen, a friend of Leonard Squirrell?s in the 1930s and to whom Squirrell dedicated his 1939 book, `Landscape Painting in Pastel` Exhibited: City of Bradford Corporation Art Gallery, Cartwright Memorial Hall Inscribed No. 1 on the reverse in Squirrell`s hand. Condition is fine.

Thomas Bush Hardy R.B.A. (1842-1897), "Deojozzi off the Ducal Palace, Venice", signed, titled and dated 1882, watercolour, 44 x 68.5cm.; 17.5 x 27in. * This painting is illustrated on page 180 of Thomas Bush Hardy - Master Painter of Marine and Coastal Watercolours by David H. Kirby-Welch and John Lee Morton, 2009 and a copy of the book will accompany the painting.

Thomas Bush Hardy R.B.A. (1842-1897), The Thames at the Tower of London, signed and dated 1890, watercolour, 22 x 70cm.; 8.75 x 27.5in. * This painting is illustrated on page 93 of Thomas Bush Hardy - Master Painter of Marine and Coastal Watercolours by David H. Kirby-Welch and John Lee Morton, 2009 and a copy of the book will accompany the painting.

Thomas Bush Hardy R.B.A. (1842-1897), "An April Day, Scheveningen", signed, titled and dated 1873, watercolour, 43.5 x 72cm.; 17.25 x 28.5in. * This painting is illustrated on page 113 of Thomas Bush Hardy - Master Painter of Marine and Coastal Watercolours by David H. Kirby-Welch and John Lee Morton, 2009 and a copy of the book will accompany the painting.

Thomas Bush Hardy R.B.A. (1842-1897), "A Summer`s Eve, Scheveningen", signed, titled and dated 1874-80, watercolour, 52.5 x 94.5cm.; 20.75 x 37.25in. * This painting is illustrated on page 114 of Thomas Bush Hardy - Master Painter of Marine and Coastal Watercolours by David H. Kirby-Welch and John Lee Morton, 2009 and a copy of the book will accompany the painting.

GRIGORIEV, BORIS (1886-1939) Before the Storm , signed and dated 1913. Gouache and watercolour on cardboard, 48.5 by 86 cm. Provenance: Collection of the renowned bibliographer and publisher Alexander Burtsev (1869–1938), St Petersburg. Russian Pictures, Works of Art and Icons, Sotheby’s London, 6 December 1989, lot 157. Acquired at the above sale by the father of the present owner. Thence by descent. Important collection of an English gentleman, UK. Authenticity of the work has been confirmed by the expert T. Galeeva. Literature: A. Burtsev, “Khudozhnik Boris Dmitrievich Grigoriev i ego khudozhestvennoe tvorchestvo”, Moi zhurnal ne dlya vsekh, vol. 6, ed. XVI, 1913, illustrated and listed. Before the Storm is typical of the early painting of Boris Grigoriev, who was widely known in Europe and America in the 1920s and 1930s for his expressionist Russian themes. Whilst still a student at the St Petersburg Academy of Arts, Grigoriev created this painting in 1913 – a momentousyear when he spent four months in Paris visiting classes at L’Académie de la Grande Chaumière, working from life and developing his original style of draughtsmanship. Recurrent themes in Grigoriev’s “pre-Parisian” painting from 1912–1913 are of outdoor festivities, people strolling and women bathing. For Before the Storm the artist uses a horizontally elongated composition, the figures are arranged in a plane across its breadth, rendered in profile and shown with sharp convulsive movements. The parade of amusing female characters with umbrellas is both of a flatly decorative nature and yet filled with exceptional energy. The dynamics are those of puppet theatre, where the puppets move in a mechanically arbitrary way. The handling of colour is driven by decorative art principles and built on the skilful juxtaposition of “glaring” colours to create unexpected harmonies reminiscent of theatre scenery. The female images contain grotesque and ironic features, which imparts a unique character to the style. In his deliberate exaggeration of personalities with distorted proportions, unexpected gestures and random movements, the artist was using impressions he had drawn from life and “translating” them with ease into decorative art. Before the Russian Revolution of 1917, this work belonged to a collector from St Petersburg, the bibliophile and ethnographer Alexandr Burtsev (1869–1938). He was a consistent supporter of the young artist, commissioning him to illustrate Russian fairy tales, proverbs and songs.Burtsev also bought works from Grigoriev and reproduced many of them between 1910 and 1914 in various publications that he ran. This particular work was published in 1913 amongst a selection of illustrations from the collection of Alexandr Burtsev. It belongs to the significant oeuvre of an artist who was very soon to become renowned in Russia and the wider world. Dr Tamara Galeeva, art historian.

EMILE DOMINIQUE ROUX (1822-1915) ""Le Mirail"" Watercolour of two figures in a woodland clearing, signed and dated `83, 8"" (20cms) x 12"" (30cms), together with the exhibition catalogue when the painting was bought in 1973.

A Chinese watercolour scroll painting, depicting an elderly immortal riding a water buffalo, complete with ivory roll and pine travelling case

After Xu Peihung - study of a horse, signed watercolour scroll painting, 11.5" x 13.5"

After Qi Baishi - study of a catfish, signed watercolour scroll painting, 27" x 13.5" *This work was probably executed by one of Qi Baishi`s sons

Jack Butler Yeats RHA (1871-1957) THE BALLAD SINGER`S CHILDREN watercolour on artist board signed lower right 10 by 14in. (25.40 by 35.56cm) Sketches of Life in the West of Ireland, Wells Central Hall, 1902, catalogue no. 17;Sketches of Life in the West of Ireland, Walker Art Gallery, 1903 Pyle, Hilary, Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 403, p. 114 Yeats was an enormous admirer of the ballad singer. This nomadic figure survived by singing new and old popular songs and selling cheaply produced copies of them in towns and villages all over the country. Yeats assembled a large collection of these ballad sheets and even wrote his own versions under the pseudonym Wolfe Tone MacGowan. In the 19th century ballad singers were powerful figures whose songs could cause unrest and spread seditious ideas because they linked a world of literacy with one in which oral traditions continued to be paramount. By the time Yeats was painting, the authority of the ballad singer was rapidly declining. In this early watercolour three figures, the children of a ballad singer, sit in the shelter of a tent-like structure, of the type that was widely used by the poor in the 19th century. It is pitched on a narrow piece of grass between a roadway and a stone wall. The children stare out at the viewer in a wary manner that suggests their vulnerability. In the distance behind them a more elaborate series of structures is just visible. These indicate that a travelling fair is taking place. Such events offered the ballad singers an invaluable opportunity to ply their wares. John Purser has written that `Yeats invests [the ballad singer] with wild nobility`. This painting accords with this observation. It presents the figure`s impoverished but self-possessed family in a sympathetic and dignified manner. The carefully constructed composition and the concentrated use of colour - the faded orange of the tent and the intense purple of the wall - aestheticize the subject, producing a highly wrought image. The work was exhibited in Dublin in 1902 and was bought by the Irish American lawyer, John Quinn, the following year. Quinn was an astute collector of modernist art. In 1904 he arranged for Yeats to visit New York and hold a one-man exhibition in the city. He continued to be an important patron of Jack Yeats`s work recognising its unique contribution to modern art. Jenny McCarthy, `Jack B. Yeats`s A Broadsheet`. Images of Orality`, in N. Cronin, S. Crosson and J. Eastlake (eds), Anáil an Bhéil Bheo: Orality and Modern Irish Culture (Cambridge Scholars Publishing, 2009), pp.87-97. 2 Quoted in McCarthy, p.89. Dr. Róisín KennedyDublin October 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.

Jack Butler Yeats RHA (1871-1957) A BOREEN watercolour on artist board signed lower left 10 by 14in. (25.40 by 35.56cm) American Art Galleries, New York, 9 February, 1927, lot 39B;Private collection Sketches of Life in the West of Ireland, Central Hall, 1903, catalogue no. 19 Pyle, Hilary , Jack B. Yeats: His watercolours Drawings and Pastels, Irish Academic Press, Dublin, 1993, no. 441, p. 120 A Boreen was exhibited at Jack Yeats`s Sketches of Life in the West of Ireland exhibition in Dublin in 1902 and is mentioned in contemporary reviews of the show. It depicts a young boy on a donkey riding along a narrow boreen between dry stone walls towards a group of thatched cottages. A view of the sea is visible in the distance beyond. This is a classic Yeats composition, of the type that he was to develop in his later oil paintings. The boy looks back towards the viewer, his face silhouetted against the distinctive landscape of the West of Ireland to which he belongs. His dark steady gaze and set features counteract negative stereotypical images of the Irish peasant that permeated visual representations of the Irish throughout the later 19th century. Yeats subtly brings in his knowledge of contemporary design in the carefully delineated structure of the walls and in the narrow undulating form of the tree that severs the composition. Both are indebted to Art Nouveau and to Japanese prints. Still perceptible are the strong purples and greens that characterised Yeats`s watercolours of this period. Such modern and stylised imagery of rural Ireland enthralled contemporary commentators especially those concerned with the creation of a new image of Irish life. The painting was acquired soon after it was painted by John Quinn, the New York attorney, who was a close friend of the Yeats family and a key patron of modernist art and literature. Dr. Róisín KennedyOctober 2014Dr. Róisín Kennedy is a graduate of UCD and the University of Edinburgh. She curated and catalogued the historic and contemporary State art collection at Dublin Castle, and wrote Dublin Castle Art, (1999). She is former Yeats Curator at the National Gallery of Ireland, (2006-08), where she curated The Fantastic in Irish Art and Masquerade and Spectacle: The Travelling Fair in the Work of Jack B. Yeats in 2007.

A STEWAT, HIGHLAND COVE watercolour on paper, signed 34cm x 44cm Mounted, framed and under glass Both the frame and painting are in good condition

WILLIAM WEIR (BRITISH 1926- 1949), RIVER DEE AT CULTER, ADERDEENSHIRE watercolour on paper, signed, titled verso 24cm x 34.5cm Framed and under glass Both the frame and painting are in good condition

G TREVOR, WINTER IN THE GLEN watercolour on paper, signed 24cm x 34cm Mounted, framed and under glass Both the frame and painting are in good condition

D. GODDEN, SAILING IN A HIGH BREEZE watercolour on paper, signed 27.5cm x 35cm Mounted Both the painting and the mount are in very good condition

ORIGINAL `ANDY CAPP` WATERCOLOUR - SIGNED the painting with the caption `It`s amazing what a bit o` syndication can do to a man`. Signed, Smythe, and with a dedication `For Conrad (Conrad Black) from Reggie (Reggie Smythe) 1965`. Painting 21 by 19cms, Frame 37 by 26cms. *Conrad Black was a Newspaper publisher and writer.

Harmsen Van Der Beek: "He did such a beautiful painting of little Tubby Bear that Miss Rap pinned it up on the wall", pen and ink and watercolour, on card, for the illustration on p. 40, Book 6, Noddy Goes to School (12.5 x 18cm).

Harmsen Van Der Beek: "He did such a beautiful painting of little Tubby Bear that Miss Rap pinned it up on the wall", pen and ink and watercolour, on card, for the illustration on p. 40, Book 6, Noddy Goes to School (12.5 x 18cm).

A Japanese Watercolour Painting of a dusty country path leading past a group of thatched rural dwellings, signed T. Kobayashi, painted area 49cms by 32cms, framed and glazed

ATTRIBUTED TO CHARLES JOHN DE LACY (1856 - 1929) - A battleship passing a fishing boat, watercolour heightened with body colour, an illustration from the Ships and Sailors Painting Book, unframed, 20cm x 26.5cm

ATTRIBUTED TO CHARLES JOHN DE LACY (1856 - 1929) - A biplane flying over a British submarine, watercolour heightened with body colour, an illustration from the Ships and Sailors Painting Book, unframed, 20cm x 26.5cm

ATTRIBUTED TO CHARLES JOHN DE LACY (1856 - 1929) - A battleship passing a fishing boat, watercolour heightened with body colour, an illustration from the Ships and Sailors Painting Book, unframed, 20cm x 26.5cm

ATTRIBUTED TO CHARLES JOHN DE LACY (1856 - 1929) - A biplane flying over a British submarine, watercolour heightened with body colour, an illustration from the Ships and Sailors Painting Book, unframed, 20cm x 26.5cm

Original framed watercolour painting by renowned artist G.S "Sid" Cooper. LNER Top link Montage.

Reuben Chappell of Goole (1870-1940): Watercolour of a schooner under sail with title 'Vernon of Dublin" and the name of "Capt W C James" to the base of painting (36 x 52cm). Provenance: Captain James was the vendor's great-grandfather

A watercolour Painting, 1959, of a torrent flowing between rocky outcrops with mountains and trees, all in tones of green, cream and black, inscription, date and three seals, 69 x 98.5cm ????? ?? ???? ??

A watercolour Painting, Republic, by He Sui (1888-1968), of an immortal with long white beard holding a shoe, a boy with a peach beside him, all in tones of black and pink and grey, inscription including artist`s name, date and three seals, 64.5 x 34.5cm ?? ??? ????? ???? ??, Some creasing. Not removed from frame.

Graham Clilverd: framed and glazed watercolour; The Royal Marsden Hospital, Fulham Road, London. The reverse of the painting has a card attached bearing a large number of signatures reputedly of staff from the Royal Marsden Hospital circa 1960's together with a framed and glazed black and white photograph of Queen Elizabeth II visiting the hospital in the company of Mr E F Simmonds, circa 1963, the reverse bearing a colour snapshot of the Queen at the bedside of a patient.

Graham Clilverd: framed and glazed watercolour; The Royal Marsden Hospital, Fulham Road, London. The reverse of the painting has a card attached bearing a large number of signatures reputedly of staff from the Royal Marsden Hospital circa 1960's together with a framed and glazed black and white photograph of Queen Elizabeth II visiting the hospital in the company of Mr E F Simmonds, circa 1963, the reverse bearing a colour snapshot of the Queen at the bedside of a patient.

A watercolour Painting, 1959, of a torrent flowing between rocky outcrops with mountains and trees, all in tones of green, cream and black, inscription, date and three seals, 69 x 98.5cm ????? ?? ???? ??

A watercolour Painting, Republic, by He Sui (1888-1968), of an immortal with long white beard holding a shoe, a boy with a peach beside him, all in tones of black and pink and grey, inscription including artist`s name, date and three seals, 64.5 x 34.5cm ?? ??? ????? ???? ??, Some creasing. Not removed from frame.

* GEOFFREY SQUIRE RSA RSW RGI (BRITISH 1923 - 2012), FRIENDS oil on board, signed 60cm x 50cm Framed Note:Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.

A watercolour and gouache painting - El Novio - The Bridegroom - Asuncion - Paraguay Ada Peacock - America C20 - signed and titled - 30 cm x 44 cm Condition report: Clean condition losses and repaint to frame

A watercolour and gouache painting - Art Nouveau girl - in the manor of Hampel - signed Walter Sigmund Hampel - signed and dated 1914 - 43 cm x 33 cm Condition report: Clean condition wear to frame

A watercolour painting - A secret meeting - Th. M. Pedler - signed and dated Sept. 1880 bottom right - 39 cm x 32 cm Condition report: Clean condition frame repainted

A watercolour painting - Launching the Paddle Steamer Mercury - attributed to William John Huggins - British 1781 - 1845 - unsigned, inscribed and dated 10th April 1834 verso - 17 cm x 23 cm Condition report: Clean condition, minor chips to frame

A watercolour painting - Old Houses, Lamberhurst - John Sutton - b. 1935 - signed - 36 cm x 48 cm Condition report: Clean condition

Original Watercolour & Gouache Painting `The Carlisle Train` by Brian C. Lancaster (1931 - 2005) GRA. RSMA. FRSA. Measures 28½" x 23" in glazed frame. Depicts an evocative view of Gresley A3 60068 SIR VISTO with a named K3 behind at Edinburgh Waverley station. This original painting was used for the limited edition run of prints named `The Flying Scotsman at Edinburgh Waverley.

Chinese Mountain Scenery Scroll Painting 20th century AD. A fabric wall-hanging with separate paper watercolour painted panel, a mountain scene with figures, three columns of text and three chop seals. 362 grams, 151cm overall, panel: 97.5cm (59 1/2"). Property of a North East Essex collector; acquired in the 1980s. TimeLine Auctions Ltd arranges printed catalogue rostrum Auctions, eAuctions and Timed Auctions where we offer antiquities, ancient artefacts / artifacts, antiques, collectibles, coins, medals and books for public sale. [No Reserve]Fine condition.

Chinese Scroll Painting 20th century AD. A scroll fabric wall-hanging with suspension bar, applied paper watercolour painting of fishermen on a lake with vegetation. 61 grams, overall: 34 x 18cm, painting: 19 x 13.5cm (13 1/2 x 7, 7 1/2 x 5 1/4"). Ex Gill collection, Lancashire, UK. TimeLine Auctions Ltd arranges printed catalogue rostrum Auctions, eAuctions and Timed Auctions where we offer antiquities, ancient artefacts / artifacts, antiques, collectibles, coins, medals and books for public sale. [No Reserve] Fine condition, worn.

ENGLISH SCHOOL IN THE MANNER OF RICHARD COSWAY (1742-1821) "Lady in white dress with pearl necklace", miniature portrait study, head and shoulders, oval, watercolour, unsigned, 8.75 cm x 6.75 cm. CONDITION REPORTS Sealed in frame, so unable to remove for inspection. New backing paper. Some scuffs, chips and losses to frame. Surface of painting with some yellowing.

A Chinese scroll painting of birds in blossom tree, watercolour on paper with text with characters

Joseph Farquharson DL (1846 -1935) giclee print from original painting 'Glowed with Tints of Evening Hours', framed and glazed, 29 x 39cm. and Olive A Nicholson, (b.1932) original watercolour of an English Landscape, 1990, signed and dated bottom right in pencil, framed, mounted and glazed, 26 x 34cm, plus another original watercolour on paper of a flower and foliage, 35 x 26cm.

ATTRIBUTED TO PETER DE WINT (1784-1849)¦A Cornfield with Newark Church in the distance¦watercolour¦8 1/4 x 22 1/4in (20.9 x 56.8cm)¦¦Said to be a study for an oil painting of the¦same subject which is illustrated in the Studio,¦1903 `Masters of English Landscape Painting`¦Cotman, Cox and de Wint.( Plate W5)¦¦Sold with a pencil sketch by Peter de Wint- a study of Trees; and a charcoal drawing by Peter de Wint depicting ` A Landscape with approaching Storm`; three (3)

Benjamin John Ottewell HRI (1847-1937), watercolour, a tranquil study of a pond with a feeding stream and autumnal trees, signed bottom left, framed and glazed, 16.5 x 24cm. B.J. Ottewell`s watercolours of the Highlands were admired by Queen Victoria who described seeing some beautiful sketches by an artist of the name Ottewell who has spent several months in Braemar painting having been snowed up for some weeks in the winter at the Linn of Dee. From 1895 until 1901 he sold the Queen over 130 watercolours of Scotland the Isle of Wight and South of France. See Millar (D) The Victorian Watercolours and Drawings in the Collection of Her Majesty the Queen 1995 vol II pp670-672.

A COLLECTION OF VARIOUS DECORATIVE PICTURES AND PRINTS to include a watercolour of a church, an oil painting of a still life of flowers signed P Rhodes and further decorative pictures

A COLLECTION OF VARIOUS DECORATIVE PICTURES AND PRINTS to include a watercolour of a church, an oil painting of a still life of flowers signed P Rhodes and further decorative pictures

A Reeves & Sons Superior Watercolour Paint Box, Mahogany box with most of the original paint blocks fitting the corresponding labeled slots including ceramic palette with trade mark, 41.4cm (high) 20.5cm (wide) (16cm (deep): Hints to Young Practitioners in the study of Landscape Painting, illustrated by Five Engravings intended to show the Different Stages of the Neutral Tint, by J W Alston, publ by Longman, Hurst, Rees and Orme 1804, London: Memoirs of Sir Joshua Reynolds KNT LLD FRS FSA &c Late President of the Royal Academy comprising Original Anecdotes of many distinguished persons, his contemporaries: and a brief analysis of his discourses to which are added Varieties on Art, by James Northcote Esq RE, publ by Henry Colburn, 1813: together with a further collection of Art reference books, (a lot) (books & paint box)

CECIL ARTHUR HUNT V.P.R.W.S., R.B.A. (1873 – 1965) Framed, signed, watercolour on paper, Welsh quarry scene, with smoking tower above cliff edges, inscribed and titled on label verso, `Dorothea Quarry: Wales/ Cecil A. Hunt R.W.S./ Mallard House/ Church Street/ S.W.`. Hunt lived at this address from 1911 until his death; turning his painting hobby into a career after his full election into the R.W.S. in 1925 and retirement as a barrister. He went on to exhibit abundantly at the Fine Art Society, R.A., R.B.A., R.H.A., R.I., R.O.I., R.S.A., R.S.W. and R.W.S., 34.5cm x 47cm.

CECIL ARTHUR HUNT V.P.R.W.S., R.B.A. (1873 – 1965) Framed, signed, watercolour on paper, Welsh quarry scene, with smoking tower above cliff edges, inscribed and titled on label verso, `Dorothea Quarry: Wales/ Cecil A. Hunt R.W.S./ Mallard House/ Church Street/ S.W.`. Hunt lived at this address from 1911 until his death; turning his painting hobby into a career after his full election into the R.W.S. in 1925 and retirement as a barrister. He went on to exhibit abundantly at the Fine Art Society, R.A., R.B.A., R.H.A., R.I., R.O.I., R.S.A., R.S.W. and R.W.S., 34.5cm x 47cm.

Myles Birket Foster [1825-1899]- 'The Elderberry Gatherers:'- signed with monogram lower left, titled on gallery label on reverse pencil and watercolour with bodycolour on paper 33.5 x 69.5 * Provenance. With Rayner MacConnal Gallery With W.H. Patterson. * Biography. Myles Birket Foster was a successful and extremely popular 19th Century watercolourist, illustrator and engraver. Born in North Shields, his family moved to London in 1830. His father recognised his son's artistic talent and apprenticed him to the wood engraver Ebenezer Landells, where he worked on illustrations for Punch magazine and the Illustrated London News. Birket Foster became a book illustrator and taught himself to paint in watercolour. He became an instant success; elected a member of the Old Watercolour Society in 1860 and went on to exhibit some 400 works at the Royal Academy over two decades. He travelled widely at this time, painting in Scotland, the Rhine Valley, the Swiss Lakes, and Italy, especially Venice. It was after moving to Witley in Surrey that he started to produce the work for which he is best known; sentimentalised views of the contemporary English countryside. Although criticised by some for their idealised view of country life, this body of work proved very popular and sold for three figure sums in their time. His house in Whitley was partly decorated by the Pre-Raphaelites and became a centre for many artists of the day. He lived there until 1893 when he moved to Weybridge. Largely because of his contemporary success, his work was much copied and even faked within his life time; his finished watercolours have a stipple technique, especially on flesh, and his drawings are minutely accurate. He generally worked on a small scale, but is one of very few watercolourists to make a complete success of large compositions. .

* Jan Hendrik Eversen [1906-1995 Dutch]- Still life of ham, olives and eggs:- signed and dated J.H. Eversen 1974 bottom right, oil on panel 40 x 59.5cm * Biography. Johannes was born in the Hague. He studied under William Johan Lampe, going on to study at the Heatherley School of Fine Art. He originally painted portraits in watercolour whilst under Johan Lampe, but soon developed his now very recognisable, high quality, detailed style of still life painting in the manner of the 17th Century Dutch Masters. His first one man show was held in 1938, exhibiting the next year for the first time at the Royal Academy. He exhibited annually at the Royal Academy from 1955-1970.

Graham Clilverd: framed and glazed watercolour; The Royal Marsden Hospital, Fulham Road, London. The reverse of the painting has a card attached bearing a large number of signatures reputedly of staff from the Royal Marsden Hospital circa 1960's together with a framed and glazed black and white photograph of Queen Elizabeth II visiting the hospital in the company of Mr E F Simmonds, circa 1963, the reverse bearing a colour snapshot of the Queen at the bedside of a patient.

A framed and mounted Watercolour depicting a Steamship heading into Harbour, 19" x 15" and a child's painting of a sailing ship