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Hercules Brabazon Brabazon (1821-1906) Esneh, initialled lower right, watercolour, 16 x 25 cm, frame 43 x 59 cm Provenance: Collection of Mr Magdi Obeid, purchased Bonhams 23/10/2007 lot 147Condition:The painting is a watercolour with pencil, framed under glazing - not examined external to the frame. The sheet appears in good condition- no obvious evidence for deterioration or damage. The paint surface appears well preserved and stable, colours are good. The frame has solid joints, some general wear and tear visible

Albert Moulton Foweraker (1873-1942) Moonlight, The Old Bridge, Ronda, signed lower right, watercolour, 52 x 35.5 cm, frame 76 x 60 cm Provenance: Collection of Magdi Obeid, purchased Sotheby's 23-09-1986Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious losses or evidence for deterioration. The paint surface is stable, colours are well preserved and in good condition- no obvious paint loss. Frame has general wear and tear

Anna Dmochowski - 'Stair Hole, Lulworth' watercolour painting. Framed and glazed. 25cm x 26cm

Kathleen M Day Watercolour drawing with gold "St Elizabeth of Hungary", 20.5cm x 15cm  Black and white print and an Indian painting of a dancer (3) 

Edith Emerson (American, 1888-1981)Portrait of Miss Elinor McCaulleysigned and dated 'Edith/Emerson/1935' l.r., crayon and watercolour43 x 34cmExhibited: Pennsylvania Academy of Fine Arts, '33rd Annual Watercolour Exhibition', 1935.Edith Emerson was an American painter, muralist, illustrator, writer, curator and a pioneering champion of women in the Arts.Born in Ohio, Emerson studied at the Art Institute of Chicago and Pennsylvania Academy of Fine Arts where she attended Violet Oakley's Mural painting class. She won scholarships in 1914 and 1915 and travelled throughout Europe, received prizes for Mural painting and exhibited at the Pennsylvania Academy of Fine Arts between 1918-45. Emerson became Violet Oakley's devoted partner, living and working with the famed muralist for over 40 years. She was a visionary female curator of the Woodmere Art Museum from 1940-1978 and, following Violet Oakley's death in 1961, founded the Violet Oakley Memorial Foundation promoting her life partner's work.An oil version of this work is held by the Woodmere Art Museum, and a reproduction of the present work is held in the Pennsylvania Academy of Fine Arts Archive.Condition ReportFramed: 67 x 57cm. Time staining and discolouration to the paper. The green hues of the coat are possibly slightly faded. Not viewed out of glazed frame.

WILLIAM CALLOW (BRITISH, 1812 - 1908) A 19TH CENTURY WATERCOLOUR LANDSCAPE 'CASTEL GANDOLFO' (the pope's summer residence) signed and dated and inscribed labels on reverse - mounted in a glazed swept frame.56cm high 79cm wideIn very good undamaged unrestored condition. Has been entered by a private vendor and has been behind glass all its life. The painting still has good colours and there is no foxing or damage to the surface.

J. R. Marshall - ' A Dorset Road, Autumn ' - An early 20th century watercolour on paper painting. The painting depicting an autumnal road scene in Dorset. Signed to the lower left. Paper label to verso for Aitken Dott & Son, Edinburgh. Set within a carved wood frame. Painting measures approx. 45cm x 39cm, 49cm x 43cm to include frame.   

Emma Dibben - A collection of three contemporary ink and watercolour illustrations. Each painting to depict a still life of fruit and vegetables in the form of bananas, a corn cob and mushrooms. Two having signature in pencil and another having receipt of purchase to accompany. Measures 37cm x 32cm. 

Edgar E. Stickland (mid-20th century British school), 'White House', watercolour, signed with initials and dated '1946', with 'Royal Institute of Painters in Water Colours' label to the reverse; and a further painting by the same artist 'Widmore Road, Bromley, Kent''The White House' 33cm x 42.5cm, 'Widmore Road' 30.4cm x 41.5cmQty: 2In good condition.

Harrington Bird (1846-1936) - An original watercolour painting depicting two American Foxhound hunting dogs. Framed and glazed. Signed to the lower right corner. Measures 62 x 77cm.

Late 19th / early 20th century Persian painting of Religious men by a mosque, with script to margin (approx 24cm x 18cm overall); together with a small 19th century oil painting of ships in choppy water (13.5cm x 10cm), 19th century watercolour of a landscape with figures by a tree, a painted circular plaque depicting a hunt with figures on horse-back, and an 'English Hare' ltd edn print, signed to margin. (5)

A watercolour landscape town scene (Dunster verso) in a gilt frame 58cm x 74cm - some spotting to painting but reasonably good

JOSEPH ALFRED TERRY (BRITISH 1872-1939) ARCADIAN LANDSCAPE WITH FIGURES SEATED BESIDE A WATER FOUNTAIN Pencil, watercolour and gouache on paper 37 x 50.5cm (14½ x 19¾ in.)Please note measurements do not include the frame unless otherwise stated.From the cobbled streets of York to the bohemian lifestyle of Paris, Joseph Alfred Terry's career fused continental and British ideals to produce dreamlike landscapes. Joseph Alfred Terry was born into the well-known industrialist family, York-based chocolate and confectionary brand Terry's, which was founded in 1767.  After studying at the York School of Art Terry travelled to Paris where he enrolled initially at the Académie Julian and later at the Académie Colarossi. Inspired by his tutors William Adolphe Bouguereau and Gabriel Ferrier, Terry settled in Paris amongst like-minded artistic circles. On his return to Yorkshire Terry settled in a village called Sleights just outside of Whitby. His work was heavily influenced by the places he travelled and especially the time spent in Corsica, Greece and Italy. Terry's landscapes are an amalgamation of the different influences he experienced on these travels together with historical influences of French 18th century painting to create dreamlike, Watteu-esque landscapes with vast vistas and figures dancing or relaxing. Throughout his career Terry exhibited widely both in France and the United Kingdom including places such as the Paris Salon, the Royal Academy and Leeds City Art Gallery. His works can be found in the permanent collections of the Whitby and York City Art Gallery.  On 3rd July 1986, Christie's South Kensington held the studio sale of Joseph Alfred Terry including posters, paintings and watercolours. Condition Report: Diagonal crease to the lower right corner. A number of other small creases to the lower left corner.  Please note Dreweatts is not liable for damage to frames. Condition Report Disclaimer

Louis Van Staaten (Dutch 1836-1909) "Near Middelburgh" Signed, titled on the mount, watercolour.40 x 60cm (framed 63 x 83.5cm)The painting is in very good, original condition with strong colours. The paper has yellowed slightly in areas across the sheet and there are one or two spots of foxing. The painting is ornately framed and glazed. The frame has some knocks and losses.

Edwin St. John (British 1878-1961) "Palermo" Signed, titled on verso, watercolour.24 x 55.5cm (framed 49 x 79.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. The paper has browned slightly in areas across the painting. The painting is ornately reframed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Reuben Ward Binks (British 1880-1950) Sailing boat Signed, watercolour.22.5 x 27.5cm (framed 44 x 46.5cm)The painting is in good, original condition. The paper has browned slightly across the sheet and there are some spots of foxing. The painting is ornately framed and glazed. There is staining across the mount. The frame has some minor scuffs and knocks commensurate with age.

John Thorley (British 1859-1933) "Little Moreton Hall, Cheshire" Signed, watercolour27 x 38.5cm (framed 50 x 60cm)The painting is in very good, original condition with strong colours. The paper has yellowed slightly in areas across the sheet. The painting is ornately reframed and glazed.

Louis Van Staaten (Dutch 1836-1909) "Amsterdam" Signed, titled on the mount, watercolour.40 x 30cm (framed 59 x 47.5cm)The painting is in very good, original condition with strong colours. The paper has yellowed slightly in areas across the sheet and there are one or two spots of foxing. The painting is ornately framed and glazed. There are some spots of foxing and very light time staining across the mount. The frame has some minor scuffs and knocks commensurate with age.

Frank Murphy (Irish 1925-1974) "Lake near Bloody Foreland, County Donegal" Signed, titled on verso, watercolour.26 x 37cm (framed 43.5 x 55cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. The paper has yellowed slightly across the sheet and there are one or two minor spots of foxing. The painting is ornately framed and glazed. There is some discolouration and foxing across the mount. The original frame has some minor scuffs and knocks commensurate with age.

Continental School (19th/20th century) Honfleur Indistinctly signed and inscribed on verso, watercolour and pencil.10 x 13cm (framed 33 x 36cm)The painting is in good, original condition. The paper has browned across the sheet and there are one or two spots of foxing. The painting is ornately reframed and glazed. There is some foxing across the slip mount. The frame has some minor scuffs and knocks commensurate with age.

Sir William Russell Flint R.A., P.P.R.W.S. (Scottish 1880-1969) "Model for Vanity" Signed on verso, titled on the mount, watercolour and pencil.38 x 53.5cm (framed 64 x 80.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There is some minor browning and foxing across the sheet. There are some scuffs to the paper with resultant paint loss towards the lower left-hand corner of the painting. The painting is ornately framed and glazed. There are some marks across the mount. The frame has some knocks and losses.

Nathaniel Powell Chase (British 1868-1956) Seated historical figure Signed, watercolour.21 x 16cm (framed 34 x 29cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed and glazed.

ROBERT MCGOWAN COVENTRY RSW ARSA (SCOTTISH 1855 - 1914), THE RIVER SEINE AT NOTRE DAME, PARIS oil on board, signedframed image size 40cm x 50cm, overall size 91cm x 72cm Note 1: The Scottish artist Robert McGown (McGowan) Coventry (1855–1914) was born in Glasgow and trained at the Glasgow School of Art under Robert Greenlees and in Paris. He travelled on the Continent and to the Middle East but found most of his subject matter in the fishing communities of Scotland and in the Scottish Highlands. He was not closely associated with the group of young painters known as the Glasgow Boys, but shared their interest in rustic realism, in painting in the open air, and in French-inspired tonal and compositional technique. He was based in Glasgow throughout his professional life. In 1889 he became a member of the Royal Scottish Society of Painters in Watercolour and in 1906 was elected associate of the Royal Scottish Academy, exhibiting regularly with both organisations and with the Glasgow Institute of the Fine Arts.Note 2: The work on offer is a rare Paris scene depicting the activities of everyday life on the river Seine in the late nineteenth century, which demonstrates the influences of the French masters in the freedom of the brushwork and strong use of colour.

ROBERT MCGOWAN COVENTRY RSW ARSA (SCOTTISH 1855 - 1914), SHORE AT AUCHMITHIE watercolour on paper, signedmounted, framed and under glass image size 25cm x 34cm, overall size 41cm x 50cm Note 1: The Scottish artist Robert McGown (McGowan) Coventry (1855–1914) was born in Glasgow and trained at the Glasgow School of Art under Robert Greenlees and in Paris. He travelled on the Continent and to the Middle East but found most of his subject matter in the fishing communities of Scotland and in the Scottish Highlands. He was not closely associated with the group of young painters known as the Glasgow Boys, but shared their interest in rustic realism, in painting in the open air, and in French-inspired tonal and compositional technique. He was based in Glasgow throughout his professional life. His work has not yet received a scholarly appraisal. In 1889 he became a member of the Royal Scottish Society of Painters in Watercolour and in 1906 was elected associate of the Royal Scottish Academy, exhibiting regularly with both organisations and with the Glasgow Institute of the Fine Arts.Note 2: The work on offer is at rare Paris scene depicting the activities of everyday life on the river Seine in the late nineteenth century, which demonstrates the influences of the french masters in the freedom of the brushwork and strong use of colour.

* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972), GRAN VIA watercolour on papermounted, framed and under glass. image size 24cm x 33cm, overall size 40cm x 49cmLabel verso: The Late John Bulloch Souter Archive, Rendezvous Gallery, Aberdeen.Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.

ARTHUR WILDE PARSONS (BRITISH 1854-1931) PAINTING THE BOAT signed and dated A. WILDE PARSONS.1905 lower leftwatercolour and bodycolour38 x 57.5cm/ 15 x 22 1/2in 63.5 x 83cm/ 25 x 32 3/4in (framed)Property from a Collection in Northamptonshire *offered for sale without reserve

LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 66-75) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. Uninspired by the conventional approach the school offered, however, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include Stiper Stones, Shropshire (lot 67); Scotland (lots 73 & 74) and Exmoor, Devon (lots 68 & 70) where he lived for a number of years. But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Venice (lot 69), which combines a massing of architectural elements with an unnerving air of instability. A later influence in Marr’s work was Chaim Soutine, as evident in the two still-lifes in the sale (lots 72 & 75).LESLIE MARR (BRITISH 1922-2021)RECLINING NUDEsigned Marr lower left; dated 19 Nov.'71 lower rightwatercolour55 x 75cm; 21 1/2 x 29 1/2 in77.5 x 98cm; 30 1/2 x 38 1/2in (framed)ARR may apply

A 20tt century framed Chinese painting of flora and butterflies, signed and mounted in a gold painted bamboo style frame together with an A Travis watercolour of a Derbyshire house by a stream, signed and dated '82Location: RWM

DOROTHY CARLETON SMYTH (1880-1933) GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912 pen & ink and watercolour, titled TYPES OF POLISH LORDS & LADIES/ BORIS; THE PRETENDER DMITRI/ BORIS; THE NURSE/ BORIS; and THE TSAREWITCH(sic) FEODOR/ BORIS, three signed and dated 1912, one unsignedDimensions:each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)Note: Note: Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art's first female director, before her untimely death the same year.

DOROTHY CARLETON SMYTH (1880-1933) GROUP OF FOUR COSTUME DESIGNS FOR BORIS GODOUNOV, 1912 pen & ink and watercolour, titled TYPE OF BOYARD/ BORIS; PRINCE SHOUISKY/ BORIS; ANDREJ SCHTSHELKALOW (sic)/ BORIS; and THE HOSTESS/ BORIS, each signed and three dated 1912Dimensions:each approx. 25cm x 22.5cm (frame 39cm x 33.5cm)Note: Note: Dorothy Carleton Smyth attended the Glasgow School of Art from 1895 to 1905 and, while principally excelling in theatre and costume design, was also skilled in the design of stained glass, sculpture, painting and metalwork. She became Principal of Commercial Art at the school in 1914. She was named, in 1933, as Glasgow School of Art's first female director, before her untimely death the same year.

Patience E Bishop -(1891-1927) An early 20th century still life watercolour painting in gilt frame with notation verso and date. To depict a table setting featuring 18th century Chinese porcelain bowl to centre with fuchsia's within and carnations atop a book with volumes of leather bound books behind. Signed to the corner by the artist. Measures 39cm x 84cm.

A. E. Capell / African School - An early 20th century watercolour on paper painting. Lieutenant Colonel, 1869 - 1952) C.B.E / D.S.O. 2nd Rhodesian Regiment O.C / Ex Commissioner of Police The scene depicting a riverside / mountain scene in Zimbabwe, formerly Rhodesia of local huts with acacia trees and local indigenous people. Plaque to bottom reads 'With Every Good Wish From The Loyal Women's Guild (Coloured Branch)' - The Guild of Loyal Women of South Africa was a voluntary organisation which identified, marked and maintained Second Boer War graves and military graveyards. Signed to bottom right - A. E. Capell. Framed & glazed. Measures 42.5cm x 52.5cm. 

William Müller - Bristol School. A 19th century watercolour on paper painting. William James Müller (28 June 1812 – 8 September 1845), also spelt Muller, was a British landscape and figure painter, the best-known artist of the Bristol School. The scene depicting Farmer, Wife and Children working hay within a barn / stable. Signed to bottom left - W. Muller 1843. Framed & glazed. Measures 40.5cm x 30cm. 

STARUKH, PETRO (Ukrainian, b. 1961), still life of blue and yellow flowers in vase, green leaves and blue vase, watercolour on paper, signed lower right, framed and glazed, Image size 41 x 59 cms, framed 56 x 75 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961),  still life of flowers, black stems with flash of red, yellow central background, watercolour on paper, signed lower right, Image 40 x 49, Framed 56 x 74.5 Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

KUCHABSKA, ANNA (Ukrainian active from 1962), 'Willows' painting of a willow grove in early spring, 63 x 63 cms, Acrylic on canvas (1) Further Information: Anna Kuchabska: Member of the Union of Artists of Ukraine, Union of Designers of Ukraine, Mondial Academia, France. Participant in regional, all-Ukrainian, international exhibitions, festivals and competitions.Anna Kuchabska was born in the village of Verbivtsi in Ukraine. She received secondary special and higher art education in Lviv. Since 1987 she has been working at the Ivan Trush Lviv Professional College of Decorative and Applied Arts, where she has been the head of the graphic design department since 1999. Anna teaches the professional subjects of: drawing, painting and composition. Anna's favorite pastime is painting. The following materials are most often used in her works: watercolor, oil, and acrylic. Anna's creative contribution is very diverse. She likes to experiment, look for various means of expression, revealing several areas of creative search. One of Anna Kuchabska’s favorite genres is the portrait, which attracts people in search of psychological expression. She also paints landscapes, still lifes, and conducts creative research in the field of associative and abstract painting. Participant, finalist and winner of more than 30 international competitions, exhibitions and festivals. The works of Anna Kuchabska are held in private collections in Ukraine, Poland, Great Britain, Canada, Germany and Japan... CONDITION: Further Information:Anna Kuchabska: Member of the Union of Artists of Ukraine, Union of Designers of Ukraine, Mondial Academia, France. Participant in regional, all-Ukrainian, international exhibitions, festivals and competitions.Anna Kuchabska was born in the village of Verbivtsi in Ukraine. She received secondary special and higher art education in Lviv. Since 1987 she has been working at the Ivan Trush Lviv Professional College of Decorative and Applied Arts, where she has been the head of the graphic design department since 1999. Anna teaches the professional subjects of: drawing, painting and composition. Anna's favorite pastime is painting. The following materials are most often used in her works: watercolor, oil, and acrylic. Anna's creative contribution is very diverse. She likes to experiment, look for various means of expression, revealing several areas of creative search. One of Anna Kuchabska’s favorite genres is the portrait, which attracts people in search of psychological expression. She also paints landscapes, still lifes, and conducts creative research in the field of associative and abstract painting. Participant, finalist and winner of more than 30 international competitions, exhibitions and festivals. The works of Anna Kuchabska are held in private collections in Ukraine, Poland, Great Britain, Canada, Germany and Japan. EXHIBITIONS: 2021- International Watercolour Masters 2021; IWS California USA Watercolour; Christmas light watercolor, Poland ;III Step by Step, Poland-Ukraine;«Everything NEW»International Watercolor Elite Online Exhibition 国际水彩菁英网络大展; Indonesia Int'l Watercolor Online Competition & Exhibition; Third International Online Cofee-Painting Contest; 1st International Watercolor juried contest IWS Argentina; «INTERNATIONAL WATERCOLOR EXHIBITION JAPAN; «CALL FOR ENTRIES JIWI» 日本国際水彩画会JIWI «Our Wonderful World» - International watercolor exhibition, Poland, Ukraine; 1st Korea International Watercolor Biennale; 2022 - 3 International Watercolor Society India Biennale 2022; IMPSART ERA NEW CREATIVE PARTICIPATION ART; 7TH INTERNATIONAL “ LOVE, PEACE AND TOLERANCE THROUGH ART’’ WATERCOLOR FESTIVAL AND GOLDEN BRUSH CONTEST-IZMIR; FabrianoinAcquarello2022 "ZOBACZ I POCZUJ" Fundacja OK.ART, Wrocław; RAZEM DLA UKRAINY “Formaty” Wrocław; New Expression of International Art Exhibition. Malaysia 2023 - IWS Japan Watercolor Triennale 2023 AWARDS: 2021-IWS California USA Watercolour TOP100 finalists; 2021- Christmas light watercolor, Poland finalists, silver winner; 2021 - III Step by Step, Poland-Ukraine finalists, winner of 1 selection; 2021- «CALL FOR ENTRIES JIWI» 日本国際水彩 画会JIWI finalists; 2022 - 7TH INTERNATIONAL “ LOVE, PEACE AND TOLERANCE THROUGH ART’’ WATERCOLOR FESTIVAL AND GOLDEN BRUSH CONTEST-IZMIR, Among the 20 winners 2023 - IWS Japan Watercolor Triennale 2023 finalist.

USYK, TARAS (Ukrainian,b. 1958) , a painting of sailboats oil on canvas with areas thinned to have a feeling of watercolour, W 70 x H 80 cms. Further Information:  Taras Usyk, is an architect, a well-known Ukrainian painter, Honoured Artist of Ukraine was born in Ukraine, in the city of Uzhgorod at 1958. Graduated from architecture faculty of Kiev ingeneering University. He successfully combines the work of architect and a painter. In Ukraine hebis well-known for his abstract artworks. Devoted the whole life to this style he used to call his style "ordered abstraction". In this style he helps the viewer to find his path to the usual real world. Taras Usyk constantly participating in International exhibitions and plein air exhibitions All Ukrain and abroad.

STARUKH, PETRO (Ukrainian, b.1961), 'Microcosm Diptych', two framed and glazed abstract paintings to form a comment on Microcosm, Signed and dated bottom right, watercolour.  Diptych of two complementary panels, size 65 x 85 cms, total size 65 x 170 cms, each of which can be as a separate picture. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv;.... CONDITION: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka. Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv;1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv;2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus, 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk ... 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION", 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961),Highly stylised still life of flowers in vase, red, yellow and green, watercolour on paper, signed lower right, Image size 33 x 49 cms, Framed 48 x 65 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian b. 1961), Still life, expressionistic explosion of colour emanating from a pot, with fine back stems, red, yellow and green with vivid Ukrainian blue highlights, watercolour on paper, signed lower right, Framed 48 x 65 cms, Image 33 x 49 cms. Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

STARUKH, PETRO (Ukrainian, b. 1961), still life of blue and yellow flowers in vase,, watercolour on paper, signed lower right, framed and glazed, Image size 41 x 59 cms, framed 56 x 75 cms Further Information: Petro Starukh, was born on August 25, 1961 in the village of Shershenivka Borshchiv district, Ternopil region. Graduated from the Lviv Institute of Applied and Decorative Arts in 1989. Postgraduate studies at the Academy of Arts. Since 1989, a member of the Union of Artists of Ukraine. Since 2010, he has been a teacher at the Design Department of LNLU. He is engaged in sculpture, graphics, painting, scenography and performances. Personal exhibitions in Ukraine and abroad. For him, each exhibition project is an important step in his own development, experience and dialogue with society. Personal exhibitions: 1991 – Exhibition of watercolors, exhibition hall of the Union of Artists of Latvia, Jurmala, Latvia; 1992 – Performance "Burning of Fear", Museum of Ukrainian Art, Lviv; 1992 – Exhibition "Exclusive", Museum of Ukrainian Art, Lviv; 1992 – "Exclusive" exhibition, gallery СХ on Volodymyrska Street, Kyiv; 1993 – International action-performance "Der Winter kaput", p. Obroshino, Lviv, Kyiv, Paris, London, New York, Tokyo; 1993 – Action-performance "Manna", Lviv Academic Spiritual Theater "Resurrection", Lviv; 1993 – International exhibition "Impreza Biennale", performance "Present absence of the unread", gallery "S-object", Ivano-Frankivsk; 1994 – Exhibition "Untitled Reaction", Gallery "League Level 14", Odesa; 1995 – Action-performance "Letters to Heaven", p. Irrigation; 1995 – Exhibition "7 x 7", Lviv Art Gallery, Lviv; 1995 - Performance "1" action", "Inko-Art" gallery, Kyiv; / 1997 – "Zinc Chronicle" exhibition, "Dzyga" cultural and art center, Lviv; 1996 – The Quietest Voice project (installation) within the framework of the Traveling Academy of Music festival, Odesa; 1998 – "Terra" exhibition, "Gherdan" gallery, Lviv; 1998 – "Terra" exhibition, exhibition hall of the "Ukrtara" concern, Kyiv; 2001 – Exhibition of painting and graphics "The Creation of Parties", World Bank-Ukraine, Kyiv; 2003 - Photo project "ZFC land of Franz Joseph", gallery "Tryzna", Kyiv; 2004 – Exhibition of sculptures "Mitopljac", "Irena" gallery, Kyiv; 2005 - Exhibition "Photos "There", gallery "DIO", Kyiv; 2009 – Performance "War", Cultural and artistic center "Lviv Palace of Arts", Lviv; /2009 – Exhibition "Love of Emerald Grasshoppers", "Green Sofa" gallery, Lviv; 2010 - Prose novel "Love of emerald grasshoppers", Lviv 2010. 2016 - Exhibition "Toponymy", cultural and artistic center "Dzyga", Lviv. 2016 – Exhibition "Hungarian motifs", cultural and artistic center "Lviv Palace of Arts", Lviv, Mukachevo, Budapest (Hungary); 2016 – Exhibition "Autumn Salon", cultural and artistic center "Lviv Palace of Arts", Lviv. / 2017 – Exhibition "Spring Salon", Lviv, Palace of Arts; 2017 - "Autumn Salon" exhibition, Lviv, Palace of Arts, 2018 - Ukrainian jewelry art exhibition; 2018 – International exhibition "Furniture Design" KYIV. 2018 - Group exhibition "PARADIGMA" PROART gallery; 2018 13 07 - exhibition "Quick Dissolving Time" in the Kyiv Art Arsenal; 2018 ART SALON Lviv ...; 2019 international plein air show in Turkey. University of Northern Cyprus / 2019 National Museum in Lviv. Angel formation.; 2019 PROART gallery Lviv. Shape and Color exhibition P. Starukh and Kolisnyk .../ 2019 Palace of Arts Lviv ..personal exhibition "PERMANENT INSPIRATION" / 2020 Lviv PALACE OF ARTS SPRING SALON; 2021 International exhibition "Our Wonderful World" Lviv; "SPRING SALON 21" Lviv PALACE OF ARTS; international exhibition "AUTUMN SALON" Lviv PALACE OF ARTS; 2022 personal exhibition "BE YOURSELF" sculpture painting.

An Irish watercolour by W. Hayden. Painting 38x27cm. Frame 53x42cm

A watercolour by Alfred East A.R.A (1849-1913) “Yorri” in original gilt frame. Painting 25x36cm. Frame 48x59cm

A watercolour by Susan Forth. Painting 22.5x15cm. Frame 38.5x33cm

A watercolour by Arthur Campbell. Eden Quay, 1948. Painting 55x35.5cm. Frame 73.5x59.5cm.

A watercolour painting by Joseph W. Carey. 50.5x41cm with frame, 35x24.5cm without frame

HENRY SCOTT TUKE (BRITISH, 1858-1929)Boats at Cassis signed and dated 'H.S. TUKE 1927' (lower left) watercolour 17.5 x 24cm Provenance Sale, Christie's South Kensington, 22nd July 1981, lot 51; Sale, Bonhams London, 12th April 2011, lot 1, where acquired by the present owner Literature Maria Tuke Sainsbury, Henry Scott Tuke - A Memoir, Martin Secker, 1933, p.178 The present work will be on view at Cromwell Place on 26th & 27th SeptemberFootnoteTuke visited Cassis with his friend Renny Stradling in January 1927 before driving to St. Tropez.  After several weeks painting there he returned to Cassis in early March.  Tuke describes in a letter to his sister, Maria, that 'there are some beautiful things here, but it is very tame after the other place.' (St. Tropez)Condition reportThe sheet is sound, slight discolouration to the background but generally in good,overall condition.  Held in a plaster gilt frame; under glass, unexamined out of frame.

THOMAS ROBERTS (1748-1777) The Salmon Leap at Leixlip Oil on canvas, 41.5 x 61.5cm Provenance: with Cynthia O’Connor Gallery, Dublin; Private collection, Dublin Exhibited: possibly the picture exhibited at the Society of Artists in Ireland in 1772, No. 60, a View of the Salmon-Leap at Leixlip; Thomas Roberts, 1748-1777, National Gallery of Ireland, 2009, No. 38 Literature: William Laffan and Brendan Rooney, Thomas Roberts, Landscape and Patronage in Eighteenth-Century Ireland (Tralee, 2009) pp. 185-87 In the tragically short span of his career, Roberts produced a body of consistently accomplished, gently lyrical work that justifies his title of the finest Irish landscape painter of the eighteenth century (AAI, Vol. 2, p. 425). Among his exhibits in the 1772 exhibition in the Society of Artists Great Room in Dublin’s [South] William Street was an painting, very likely the present work, showing the celebrated salmon-leap at Leixlip. In the 1772 exhibition, Roberts’s picture appeared alongside three of Roberts’s views of nearby Lucan house and demesne. A landmark, just eight Irish miles from Dublin, the salmon-leap was particularly popular with day-trippers from the capital, and was recorded by several artists and writers in the late-eighteenth and nineteenth centuries. Roberts’s fellow artist John O’Keefe provided the following description of the spot: It is a custom of the Dublin people to go to Leixlip, and see what is called the salmon-leap. I often went, and stood upon the bridge, looking into Lady Mazarene’s gardens, through which the Liffey runs. The rise is about twelve feet; when the salmon gets to the bottom of the cataract, it takes its tail in its mouth, gives a spring and leap, and throws itself into the upper part of the waters: in this surprising action it was only a few yards from me. When in the upper waters, it swims on, and you neither see nor know anything more about it. The landscape painter William Jones had painted the salmon-leap at Leixlip as early as 1745, and dedicated Giles Smith’s engraving after his painting to the Right Hon. William Conolly of Leixlip Castle. However, perhaps the most significant artist to have visited the landmark before Roberts was George Barret, who executed at least one fine watercolour of the salmon-leap. The beauty spot remained popular into the nineteenth century, when it was depicted with varying degrees of success and accuracy by, among others, William Howis and William Henry Bartlett. The salmon-leap was submerged in 1947 when the Leixlip dam and reservoir were built. Roberts’s view of the tumultuous cascade eschews the Claudean tradition that had exercised a profound influence over Irish landscape painters, including Roberts himself, for over a century. The composition is notably horizontal, and does not the feature the recessional planes that traditionally gave depth and balance to classical landscapes. Instead, the composition anticipates the empirical essays of nineteenth-century artists. In tone, detail and finish, however, it is typical of Roberts’s work. Indeed, it anticipates the artist’s later dramatic landscapes featuring landstorms and similar phenomena, in which Roberts explored the irresistible effects of nature. Roberts did not consider the salmon-leap at Leixlip a place to which visitors came to sit and contemplate, as they did in the artist’s views of the weir at Lucan, but rather one that inspired caution and awe in equal measure. This is communicated by the gentleman who escorts two elegant ladies by the cataract, and who points tentatively with his cane towards the water as it cascades powerfully below them. Further upstream along the path, other visitors observe from a safer distance. The stone arch on the northern bank, the sole surviving part of a bridge destroyed by floods in the 1730s, and clearly visible in all views of the salmon-leap, stands as testament to the potency of the river. The gentleman by the edge of the cascade might be the Viceroy, Lord Townshend, whose grand summer residence Leixlip Castle was situated a short distance away. Townshend leased the castle from its owners, the Conollys of Castletown from 1767 to 1772, and it may well have been for him that the building was restored and embellished. Townshend was known to ‘throw open the grounds on Sundays and mingle incognito with the visitors who had driven out from Dublin to admire the Salmon Leap and take the waters at Lucan Spa’. As the late Desmond Guinness observed, engraved views of the salmon-leap executed in the eighteenth century were usually dedicated to the then occupant of the castle. The subject, like those around the Lucan demesne, provided Roberts with the opportunity to exercise his skill in describing rock and stone, foliage and, perhaps most notable, water effects. The expertly described textures, tones and patterns of this natural matter qualify Roberts finest works throughout his career. We are grateful to William Laffan and Brendan Rooney whose work on Thomas Roberts informs this catalogue note.

John Yardley (b.1933) - A 20th century watercolour on paper still life painting depicting a bouquet of flowers. Signed to the lower right. Paper label to the verso for Clifton Gallery, Bristol. Framed and glazed. Measures approx. 91cm x 75cm.     

(Maritime Interest) three framed works and others, to include: F. E. Turner - Ship at sea in full sail, watercolour, bodycolour and pencil on paper, 46 x 23.5 cm, signed; After Henry Pether (fl.1828-1865) - 'The Thames and Greenwich Hospital by Moonlight', print by Larkfield Printing Co., published by National Maritime Museum, 54.5 x 36.5 cm; After Canaletto - Venice: The Bacino di San Marco from San Giorgio Maggiore, framed print; Lawson (20th century) - Naive style watercolour study of a bull, signed lower left, 18 x 29.5 cm (unframed); reproduction print of a Chinese painting of lingzhi fungus; and another print in colours (6)

HERCULES BRABAZON BRABAZON (1821-1906) A LANDSCAPE STUDY WITH SNOW CAPPED MOUNTAINS, initialled bottom left, watercolour on paper, approximate size 9.5cm x 18cm, Condition Report: painting in good overall condition, frame marked in places (Provenance: The Arnold Fellows Collection)

CIRCLE OF ALBERT RUTHERSTON (1881-1953) AN ILLUSTRATION DEPICTING A MAN WITH A COW, no visible signature, attribution to the back of the picture given by Arnold Fellows, watercolour on paper, approximate size 23cm x 17cm, Condition Report: mount burn evident to the edges of the painting (artist resale rights may apply) (PROVENANCE: The Arnold Fellows Collection)

FRANCIS EDWARD JAMES ( 1849- 1920) STUDY OF TREES, a landscape with trees beside a small stream, signed and dated May 1897 bottom left, watercolour on paper, approximate size 24cm x 34cm, Condition Report: the painting is in good overall condition, frame marked in places (PROVENANCE: The Arnold Fellows Collection)

GEORGE CLAUSEN (1852-1944) 'IN MY GARDEN', a water landscape, signed bottom right, titled to the painting verso, watercolour on paper, approximate size 21cm x 16cm, Condition Report: the painting is in good condition (PROVENANCE: The Arnold Fellows Collection)

FRANCIS EDWARD JAMES (1849-1920) SHOP FRONT STUDY, a view of a bookseller and stationery shop, signed bottom right, watercolour on paper, approximate size 36cm x 22cm, Condition Report: top edge of the painting is visible, dirty marks to the mount (Provenance: The Arnold Fellows Collection)

Khin Maung XX Burmese, watercolour, ' Victoria Memorial near Buckingham Palace, London ( from Green Park) '. Showing red buses, cars, etc., signed and dated '1950' lower right, 29 x 39.5 cm Condition Report: The painting is unframed. Overall in very good condition. No apparent signs of fading, tears or foxing, some wear around the edges, information id written on the verso. Slight green/yellow mark around the upper space between two trees however it is likely part of the original colour wash.

John Hopkins (exh. 1791-1809) after Sir David Wilkie Rent Daywatercolour over pencil with gum arabic on paper43.5 x 62cmProvenance:With The Fry Gallery, London, by 1970, when sold to Walter Brandt,Thence by descent to his grandson;Private collectionThe present watercolour is a copy after the oil painting by Sir David Wilkie in the collection of the Earls of Mansfield.Few surface scuffs near the top edge. Light tears to the mount in the lower left quadrant. Slightly abraded paint layer in the darker pigments - particularly in the bottom right corner, see for instance the wine cooler. Not examined out of frame. Framed size 65 x 83.5cm

J ShaplandNear Zennor, Lands EndWatercolourSignedTogether with a W D Brockman Davies watercolour of Haddon Hall, two Marion Minton watercolours, a watercolour signed J Varley, a Herbert George watercolour of a garden scene, a George Horne oil painting of Padstow in Cornwall and prints

N BurnettA Mountainous landscape with blossom in the foregroundWatercolourSignedTogether with a watercolour of Jonston Canyon in the Canadian Rockies by Martin Harvey, a Peter Challen watercolour of the Saxon Churchyard, Alton Barnes, a print of a still life of fruit, a J Templeton oil painting of a boy and his dog, two tapestry pictures of flowers and a Cornelius Pearson Watercolour of a coastal scene

PAUL NASH (BRITISH 1889-1946) SILBURY HILL Watercolour and pencil Signed (lower right) 38.5 x 57cm (15 x 22¼ in.)Executed in 1938. Provenance: Private Collection, C. Allsopp, by whom sold Christie's, London, Modern British Drawings, Paintings and Sculpture, 20 March 1970, lot 180 Agnews, London (by 1971) Private Collection, Harold Riley Christie's, London, 20th Century British Art & Irish Art, 19 November 2004, lot 97, where purchased by Robert Kime Exhibited: Newcastle-upon-Tyne, Northern Arts Gallery, Paul Nash 1889-1946, September-October, 1971, no. 34 London, Tate Gallery, Arts Council of Great Britain, Paul Nash Paintings and Watercolours, November-December 1975, no. 175 (loaned by Harold Riley) Literature:Andrew Causey, Exhibition Catalogue, Paul Nash 1889-1946, Newcastle, Northern Arts Gallery, 1971, p. 15, no. 34 pl. 12 Andrew Causey, Paul Nash, Oxford, 1980, pp. 265-6, cat no. 952, pl. 312 Silbury Hill, located near Avebury in Wiltshire is the largest artificial mound of its kind in Europe. It is believed to have been completed around 2400BC and is similar in scale to the pyramids in Egypt. The purpose and significance of the mound are unknown and remain the subject of much speculation. Given Nash's fascination with pre-historic sites and the spiritual qualities of the English landscape, it is unsurprising that Silbury Hill was of interest to him. Nash first visited Silbury Hill and the nearby stones at Avebury in July 1933 whilst on holiday in Marlborough. According to Ruth Clarke, who travelled with him, Nash was 'excited and fascinated' by the landscape which appealed to his 'sensitiveness to magic and the sinister beauty of monsters' (cited in Andrew Causey, Paul Nash Landscape and the Life of Objects, 2013). The ladder laid against the hill in the present work was a figment of Nash's imagination which derived from his interest in the idea of something rising out of the earth or up from the water and creating a new form above ground. A postcard found in Nash's collection depicts a ladder inside a pit at the excavation of Maiden Castle leading upwards from the ground beneath. This postcard alongside the watercolour of Silbury Hill, is discussed by Andrew Causey in his 1980 publication on the artist:.:'Silbury, as might be expected, intrigued Nash: its clear, plain, and - to Nash - symbolic shape was both palpable and inscrutable. In the oil painting Silbury Hill [Causey no. 880] he hinted at its symbolical meaning, its special, reserved ambience, with the closed gate and the pyramidal tumulus beyond, while constructing at the same time elaborate formal congruences of triangles within the over-all design. In the slightly later watercolour [the present work] he revealed a little more of his reaction to the hill's shape by adding a ladder leaning against the mound in front of it. This was no more than a now familiar Nash image, but there could be special interest in this if the idea was suggested by a postcard he had of Maiden Castle [Causey pl. 313]. It is not just that both are sites of ancient occupation, but that the postcard and watercolour are complementary images: in one the ladder comes up out of a dark pit, in the other it seems to continue its journey up the side of the hill; the sequence seems a characteristic product of Nash's mind' (see A. Causey, Paul Nash, Oxford, 1980, p. 265). Condition Report: Examined out of glazed frame. The sheet is stuck down to the card backing along each edge. Staining to the extreme edges of the sheet. Very slight undulation to the sheet. Light spotting scattered across the sheet most notable to the sky and to the upper landscape, however this does not appear to be a result of moulding or foxing. This damage does appear to be treatable. Please contact the department on pictures@dreweatts.com for more details. The colours are strong and there appears to be no other significant condition issues. Condition Report Disclaimer