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A chinese painting on silk of birds on a branch, three Chinese flower paintings and a watercolour still life (5).

A chinese painting on silk of birds on a branch, three Chinese flower paintings and a watercolour still life (5).

A J.C Salmon Coastal Watercolour, a 20th century Rural Watercolour, a John Keeley Painting of Figures by a River, an Oil on Board of Card Players and Two Contemporary Oil Paintings plus a Coulson Print

A H Hallam Murray (1854-1934): watercolour of a view of Florence, signed bottom left, 'Florence' bottom right, together with a copy of 'On The Old Road through France to Florence', 2nd edition December 1904, for which the painting was an illustration, plate 38, page 236.

A H Hallam Murray (1854-1934): watercolour of a view of Florence, signed bottom left, 'Florence' bottom right, together with a copy of 'On The Old Road through France to Florence', 2nd edition December 1904, for which the painting was an illustration, plate 38, page 236.

Oscar Namatjira (Australian, 1922-1991) The Walls Glen, Helen Gorge, Australia signed lower right ""Oscar Namatjira"" watercolour 25 x 36cm (10 x 14in) Oscar Namatjira was born in 1922. He attended mission school before joining the Army Labour Gang in 1942. Three years later he returned to the mission and took up painting. Oscar`s work was perhaps most strongly influenced by his father Albert Namatjira. His landscapes are beautifully drafted and coloured. Early works display a delicate palette and capture subtle changes of light and shadow on the landscape. Oscar`s best work is comparable to Albert`s for technique and beauty. His ghost gums are also masterly executed. Early works were signed Oscar Namatjira. Condition appears fine.

§ John Melville (British, 1902-1986) Still life of yellow tulips in a vase signed lower right ""John Melville"" watercolour 31 x 25cm (12 x 10in) John Melville is one of English art`s neglected modernists par excellence. Working in relative isolation in Birmingham, his compelling hybrid style - a mixture of surrealism and cubism - yielded memorable images of the figure or still life. In spite of his provincial position, he was by no means unknown - he exhibited with leading dealers like Lucy Wertheim and Erica Brausen, won the critical endorsement of Herbert Read and showed many times with the English surrealist group. His later work saw this gifted and individual artist step beyond the influence of Picasso and create wildly expressive landscapes of a disturbing, disquieting or apocalyptic kind. Although generally out of sync with the hedonistic Sixties, Melville nonetheless painted with an imaginative overdrive that broke all stylistic categories and in so doing followed the example of Picasso in anticipating the thematic angst and formal frenzy of 1980s neo-expressionist painting. Melville was a painter`s painter, a natural colourist of breadth, charm and distinction, and a genuine visionary who refused to compromise with the art establishment. The quality always wins out in the long run and Melville reminds us that to have been out on a limb, like Theodore Major in the north, or John Tunnard in Cornwall, could be a symptom of genius at play. Lots of thunderflies under the glass but image is fine.

§ Jane Corsellis, RWS, RCA, NEAC (British, b. 1940) His Room - 1980-1984 signed lower left ""Corsellis"" oil on canvas 74 x 100cm (29 x 39in) Provenance: Business Art Galleries, The Royal Academy of Arts, Burlington House, Piccadilly, London, W1. Jane Corsellis studied at the Byam Shaw School of Art in London. She was awarded the Leverhulme Scholarship and the final year Painting Prize. While still a student she exhibited at the Young Contemporaries Exhibition and at the Royal Academy Summer Exhibition. In November 2006 she had her first one person show at Messum?s Gallery in Cork Street, London, a second show took place in November 2008 and further show of watercolours in March 2010. She exhibits regularly at exhibitions of the New English Art Club, the Royal Watercolour Society, the Small Paintings Group and from time to time in other galleries and exhibitions. Her book ?Painting Figures in Light? was published in the United States by Watson and Guptill in 1982 and then in the UK. Her second book ?A Personal View Painting in Oils and Watercolour? was published by David and Charles in October 2000. At the same time APV Films brought out a film of Jane at work called ?Landscapes in Oils?. A second film called ?Coastal Watercolours? was released by APV Films in November 2004. Her work is in many corporate and private collections in the UK, North America, Europe and the Far East. She is a teaching member of the NEAC Drawing School. Her latest solo exhibition took place in June 2012 at Messum?s in London. It consisted mainly of new works painted on the Atlantic coast in France and on the Thames at Strand on The Green where she now lives. Condition appears fine.

Melicent Grose A.S.W.A (English 1844-1923) Mount Etna In Springtime, dated April 1918. Watercolour, extensively heightened with white, 15x22`` Signed lower right. Exhibition label with date, address, price & purchase details verso. Melicent Grose was born in Truro & exhibited at the Dowdeswell Show of 1890. Later painting mainly in Europe with the Pont-Aven School Of Artists.

19th century miniature painting on ivory, half length portrait of a gentleman, unsigned, 2.75" x 2.25", and miniature oval watercolour, portrait of a woman, 4.5" x 3.5", both framed, (2).

Colours Running`, a watercolour by Suffolk artist Darren Bird. A stunning representation of a race horse in motion has been painted by Suffolk artist Darren Bird who combines his passion for horseracing with his natural gift for drawing and painting. It is A3 in size and unframed. Kindly donated by Darren Bird www.darrenbird-art.co.uk To post this item to you (1st class Special Delivery) a charge of £10 will need to added to this item. This item is also available to collect from an EACH hospice or fundraising office. Please state `post` or `collection` at time of payment.

Charles Barker (20th/21st Century Contemporary) "Corndon Hill", signed and dated '85 (1985) watercolour, 31 x 46 cm, together with another watercolour inscribed, "Corndon Hill, Shropshire", indistinctly signed and dated '84 (1984) 27 x 41.5 cm, print of a, a cat on a cushion in front of a mirror, another titled, "Cat merchants and Tea Dealers at Tong Chow, Port of Peking ", an ink drawing of the house, "Corndon", White Grit, Shropshire, a Contemporary painting on panel of two sleeping cats, signed, "Reestap"

John Ruskin: Studies in Both Arts; publ. George Allen 1895 including a loose leaf sheet on a Theory of Art by J W North, signed in pencil J W North ARA 15th September 1910 together with three other loose leaves (unrelated) together with R P Leitch: A Course of Watercolour Painting.

A.M. Alderson, portrait of DM & EM Alderson, signed and dated 2005 lower right, watercolour, framed, 29.5cm by 39.5cm; and a framed photograph of the sisters painting (2)

A Chinese watercolour painting on fabric, 19th Century, painted with blossoming branches, signed in black text above two red seal marks, approx 37cm x 30cm, later framed and glazed.

•JOHN THOMPSON (1924-2011) WATERCOLOUR `Winter Hill/Rivington Pike, Evening` Signed and monogrammed, title verso 2 1/8"" x 11 3/4"" (5.4cm x 29.9cm) Supplied with a photograph of the artist`s wife holding the painting

FORE-EDGE PAINTING. - Thomas GRAY. The Poems… a new edition. London: 1800. 8vo (183 x 107mm.) 6 engraved plates. (Plates spotted.) Contemporary calf in the style of Edwards of Halifax, the covers with etruscan borders, g.e. with a watercolour fore-edge painting of a view near Dulwich in Surrey (spine cracked and chipped at head and foot, upper joint splitting). Provenance: unidentified signatures to preliminary blank and monogram to title-page.

A large Indian watercolour on cloth painting depicting the Krishna and Gopis performing the Rasa Lila in an open forest, two central figures encompassed by a repetitive chain of Gopis, the foreground decorated with a waters edge, lotus flowers and peacocks, starlit sky with centralised moon flanked by gods in their celestial Vahana, within a yellow ground border decorated with a floral and foliate design, 47½ x 57in. (120.6 x 144.8cm.). * This painting reputedly hang in the Maharajah of Jodphur`s Palace. It was purchased by the vendor from an antiques supplier in Jaipur in 1963.

Rose Maynard Barton RWS ASWA (1856-1929) St Patrick's Cathedral Watercolour, 27.5 x 18cm (10¾ x 7¼") Provenance: • From the Collection of the Late Major Victor McCalmont, Mount Juliet, Co. Kilkenny. Christie's Dublin, 12th December 1990 (front cover illustration), where purchased by the current owners Exhibited: • "Rose Barton Retrospective", The Crawford Gallery, Cork, Jan 1987 • Fine Art Society, London, Feb/Mar 1987 • Ulster Museum Belfast, Mar/Apr 1987 • The Butler Gallery, Kilkenny, May 1987, Catalogue No. 31 • Irish Women Artists 1870-1970 Exhibition 2014, Catalogue No.10 Literature: "Irish Women Artists 1870-1970", full page illustration p13. Tipperary born Rose Barton began a long relationship with the Royal Water Colour Society of Ireland in 1872 when she first exhibited with them. Three years later she spent some time in Brussels, taking painting and drawing classes, and in 1878 she exhibited for the first time at the RHA. The following year she sat on the committee of the Irish Fine Art Society. After a spell of studying in London under Paul Jacob Naftel (1817-91), her work was included in the Royal Academy show in 1884. She continued to exhibit in London at venues such as the Japanese Gallery, The Dudley Gallery, Grosvenor Gallery and Clifford Gallery. In 1904 two of her works were included in Hugh Lane's Irish Art exhibition at Guildhall in London, and three were shown at the RHA annual show. Barton's watercolours, mainly executed in Dublin and London, are distinguished by an emphasis on the almost tangible atmospheric effects of weather conditions. She became known not only through these original works but also through her illustrated books of both cities.

ROBERT FRIAR (1855 - 1912) OIL PAINTING Row of red roofed cottages 8"" x 5"" (20.3cm x 12.7cm) AND A WATERCOLOUR DRAWING BY THE SAME HAND Fishing smacks coming in to harbour 8 3/4"" x 6"" (22.2cm x 15.2cm) Both signed (2)

William Bennett (1811-1871). A 19th Century Watercolour Painting of Farmers and Cattle in a Surrey Landscape near Godalming, 13 ins x 20½ ins (34 cms x 52 cms), in a glazed gilt frame 23 ins x 29 ins (58 cms x 73 cms).

Four Small Gilt Framed Paintings: An oil on board; dark landscape with church and figures, inscribed in pencil on verso David Cox Junior, 7 ins x 9 ins (18 cms x 23 cms), 9 ins x 11½ ins (23 cms x 29 cms) framed. An oil on canvas after Wouvermanns depicting a campsite with figures and horse 5 ins x 6½ ins (13 ins x 16.5 cms) in a decorative Art Nouveau frame 9 ins x 11 ins (23 cms x 28 cms). A watercolour vignette painting of boy fishing in landscape and dog 5 ins x 6¼ ins, 8¼ ins x 9¾ ins (21 cms x 25 cms) framed. A watercolour of a renaissance masterpiece; Mary, Child & angels 4½ ins x 3 ins (12 cms x 8 cms) in a carved, pierced & beaded frame 9¾ ins x 8 ins (25 cms x 20 cms).

Eric Ravilious (1903-1942), Aldeburgh Bathing Machines, signed and dated Aug 1938 lower left, watercolour, 41 x 52cm. In original sycamore frame. Titled on Arts Council of Great Britain label verso. Arthur Tooth & Sons exhibition label verso. We are very grateful to James Russell, lecturer and author on Ravilious for the Mainstone Press, for the following write up on this painting. Until this year only the owner of `Aldeburgh Bathing Machines` knew of its existence. This scintillating watercolour was bought from the artist`s exhibition at Tooth`s in May 1939 and since then the title has been attributed to a different painting, also of bathing huts. As far as anyone other than the owner knew, the picture featured here had never existed, so that to Ravilious`s descendants, collectors and fans `Aldeburgh Bathing Machines` is not a lost painting returned but a new and exciting discovery. Eric Ravilious was in the middle of a prolific period when he visited Aldeburgh late in August 1938. Galvanised by the prospect of the Tooth`s exhibition he had travelled around the country, seeking out inspiring subjects. His letters are generally a good source of information about his activities, yet we know almost nothing about his visit to Aldeburgh; he left no clue as to why he was so intrigued by bathing machines. There were, however, similar devices on the beach at Eastbourne when he was a boy. Ravilious was born in London but at the age of eight moved to the Sussex seaside town, where his father ran an antiques shop. A scholarship took him to the Royal College of Art in 1922 and from there, his career as a designer and artist blossomed alongside that of his friend and fellow student, Edward Bawden. Ravilious retained a lifelong fascination for unusual and old-fashioned objects, particularly wheeled vehicles. He also liked to work in series, so we should not be surprised that he painted three watercolours of these delightful blue-and-white-striped bathing machines. In this case, the composition is centred on the parking sign and its shadow, around which the other objects (and the attendant) are carefully arranged so that the eye keeps moving from one to the next as if around a dial. The objects themselves are intriguing even by Ravilious`s high standards of oddity: the chicken appears in another painting and must have had some purpose but we don`t yet know what it was. Having no doubt seen his friend John Piper`s illustrated essay on `Nautical Style` in Architectural Review a few months earlier, Ravilious may have included the fowl as an amusing addendum. However, the most striking feature of this beautiful painting is the quality of the light. Dawn was this artist`s preferred time for outdoor work and in many watercolours it is the radiant early morning light that seems his true subject. The striated iridescent sky would become a feature of Ravilious`s finest wartime paintings but this is peacetime, and the scene is set for a holiday. James Russell, July 2014. www.jamesrussellontheweb.blogspot.co.uk www.themainstonepress.com. We would also like to thank the White Lion Hotel at Aldeburgh for kindly allowing us to reproduce their photograph of the White Lion bathing machine on the beach at Aldeburgh. www.whitelion.co.uk

Edward Bawden (1903-1989) (ARR), February, 2pm, 1936, signed and dated 1936 lower right, watercolour, 45 x 57cm. In original sycamore frame. We are very grateful to James Russell, lecturer and author for the Mainstone Press, for the following write up on this painting. `February, 2pm 1936` is one of the most important of Edward Bawden`s critically-acclaimed pre-war watercolours, a technically accomplished painting with great personal significance to the artist. The title tells us the time and date but not the place, which is the garden of Brick House, where Bawden lived with his wife Charlotte, (nee Epton, a talented potter) and children Joanna and Richard (both of whom became artists), seen from the roof. From this vantage point we see just below us a white trelliswork gazebo, which had been given to the Bawdens as a wedding present by Eric and Tirzah Ravilious. It appears in paintings by both Ravilious and Bawden, reminding us of the fact that the two friends and their wives lived all together at Brick House for several years in the early 1930s. As students at the Royal College of Art in the early 1920s Bawden and Ravilious had been encouraged by Paul Nash to explore watercolour, then a medium undergoing a major revival and they did so with enthusiasm. So seriously did they take their painting, that in 1930 they hunted down a weekend retreat, touring north-west Essex by bicycle and eventually finding their way to the village of Great Bardfield, where they managed to rent half of Brick House from its owner, a retired stewardess from an ocean liner. On Bawden`s marriage his father bought the whole place and so the art colony of Great Bardfield was born. A host of distinguished artists came and went during Bawden`s lifetime and the artist found endless inspiration for paintings, linocuts and drawings in and around the house and garden. This particular painting was exhibited in his second solo exhibition at the Zwemmer Gallery, London, in 1937. His 1933 show had been well-received with The Times noting that his work was `all paint, all edge, all sharpness` and the second exhibition was if anything even better. The distinguished critic Eric Newton approved particularly of Bawden`s modern watercolour technique, which he described as `dry and worried and patchy` and we can see in this painting the artist`s restless energy. Rarely did he apply himself with such vigour to a painting. The strong, meaty red of the wall is scratched and distressed, as is the whole surface of the picture, suggesting that the winter weather was less than clement. Bawden and Ravilious were highly competitive, each striving to endure greater discomforts and more challenging working conditions than the other. Here, Bawden has excelled himself. The picture is one of few reproduced in colour in the `Penguin Modern Painters` book on Bawden, published in 1946 with an essay by J.M. Richards. James Russell, July 2014. www.jamesrussellontheweb.blogspot.co.uk www.themainstonepress.com

WILLIAM HENRY EARP 19th century Rowing boats and yachts on the Dorset coastline, signed lower left, watercolour, 9.75"" x 21.75"", and the companion painting (2)

CHARLES EDWARD DIXON (1872-1934) ""Greenwich Reach"", signed and titled, watercolour, 10.5"" x 29.5"". See illustration Provenance: Private collection, East Dorset. This painting has remained in the same family for at least 75 years.

# CHARLES FREDERICK TUNNICLIFFE (1901-1979) A study of oyster-catchers on a rocky outcrop, signed lower right, watercolour and gouache over traces of pencil, 16.5"" x 26"". See illustration Provenance: Private collection, Dorset. This lot is accompanied by a letter dated September 16th 1995 to the owner from the artist acknowledging his payment: ""I do hope the painting continues to give pleasure for I enjoyed painting it ..."".

An interesting collection of art related books to include Famous Watercolour Painters - Frank Brangwyn RA, produced by The Studio Limited 1928, More Drawings by H M Bateman, The Art of the French Book by Paul Elek, Mr Punch`s Book of Arms drawn and written by E T Reed, published Bradbury, Agnew & Co, London, etc, The Badminton Library - Big Game Shooting which appears to include a photograph of one of the contributors F J Jackson attached to one of the front pages together with a framed original illustration for page 267 ""In This Awkward Position"" by Charles Whymper and a copy of Birds Through The Year, written and illustrated by Fish-Hawk with a framed painting by Fish-Hawk of wading birds at an estuary

A large Watercolour and Gouache painting of a Pig, signed lower right, Ben Hartley, 24'' x 21 1/2'', framed in a modern wooden frame. (Ben Hartley 1933 - 1996) *****ARTIST'S RE-SALE MAY APPLY TO THIS LOT

A box of art related books to include Watercolour Painting in Britain, The Victorian Period by Martin Hardie and The Dictionary of British 18th Century Paintings by Ellis Waterhouse, (Quantity).

ENGLISH SCHOOL IN THE MANNER OF ARCHIBALD THORBURN "Partridge in field", black and white watercolour, unsigned CONDITION REPORTS Overall size including frame is approx. 56 x 43 cm. Watercolour has assorted foxing especially to top right corner and generally all over, general yellowing to the paper, painting would benefit from re-mounting as it is not flat - with assorted peaks and troughs, border with various water marks, foxing, yellowing, frame with assorted losses, chips, cracks, general wear and tear.

India – A wonderfully detailed watercolour of two Sikh Akalee Warriors on paper^ large size^ this enigmatic depiction of two Sikh Akalies is historically accurate in every regard. Their uniforms depict all the accompanying accoutrements of war such as the Chakram (war quoit) favoured by the Sikhs of the day^ powder horn^ Pesh Kabz dagger^ Tulwar sword and Matchlock Torador Rifle. Complete with painted title with the words “Akalee” at the bottom of the painting 19th C. Size 44cm by 33cm.

Martin T Rodgers. A watercolour painting of a mid 1960s MGB Roadster, 50cm h x 62cm w.

Martin T Rodgers. A watercolour painting of an Austin Healey 100, 56cm x 62cm.

Martin T Rodgers. A watercolour painting of an early 1990s Landrover Discovery, 80cm x 62cm.

Martin T Rodgers. A watercolour painting of a mid 1960s MGB Roadster, 50cm x 62cm.

Oak barley twist occasional table, carved occasional table, floral watercolour and Prague oil painting (4)

An oil painting on board, David Cemmick, Oyster Catcher, signed, a similar watercolour, Tess & Jenny, dog interest, signed and two prints, dog interest

THOMAS MILLIE DOW RSW NEAC ROI (SCOTTISH 1848 - 1919), SPRINGTIME oil on canvas 34.5cm x 44cm Framed Provenance: This lot and the following two lots have been passed down directly through the artist`s family and are accompanied by a letter (copy) of authenticity from the great granddaughter of the artist. Thomas Millie Dow (28 October 1848 - 3 July 1919) was a member of the Glasgow Boys school. He was a member of The Royal Scottish Society of Painters in Watercolour and the New English Art Club. Dow painted in oils, watercolour and pastels. His subjects include flower studies, landscapes, portraits and decorative allegorical works. The geographical range of his landscapes extends through Scotland, the Northeastern United States, Morocco, northern Italy and Cornwall. Using a subtly refined palette he chose to depict the quiet moods of nature. The subjects of his compositions range from the intense stillness of woodland to the calm before a storm at sea; and from dusk deepening on a northern shore to the lifting haze of a Mediterranean spring morning. From 1877 to 1879 Dow spent the winters in the Paris studios and making occasional sketching excursions with fellow students Mann, Paterson, and Bell, to the villages of Barbizon and Grez-sur-Loing in the Forest of Fontainebleau. The summers, he spent painting in the towns and villages along the east coast of Scotland, travelling from Dysart through St Andrews and on up to Stonehaven, Cullen, Cowie, Collieston and Forvie Ness. It is for the work completed between 1885 and 1895 that Dow is most closely associated with that group of artists who later became affectionately known as the ""Glasgow Boys"". Dow is among the 21 Glasgow-based artists whose work is assessed in David Martin`s contemporary account entitled The Glasgow School of Painting (George Bell & Sons 1897). In his piece on Dow, Martin wrote as follows. ""His perception of colour is similar to his use of paint - keen and refined; and his observation of nature such as to give a true feeling of form, without a slavish imitation."" ]

ENGLISH SCHOOL 20TH C - LANDSCAPES, THREE WATERCOLOUR OR OIL AND A FURTHER PAINTING OF FLIGHTING MALLARD AT SUNSET, SIGNED OIL ON CANVAS

*LIZ TAYLOR WATERCOLOUR DRAWING ""Altrincham Library"" Signed 7"" x 4"" (17.8cm x 10.3cm) MEIL (?) OIL PAINING ON BOARD Moonlit landscape with dilapidated farm building Signed 7 ½"" x 9 ½"" (19cm x 24cm) UNATTRIBUTED OIL PAINTING ON CANVAS Still life of pebbles 9"" x 13"" (22.8cm x 33cm) WATERCOLOUR DRAWING Castle at dusk Signed 5"" x 10 ½"" (12.7cm x 26.7cm) AND THREE SMALL WATERCOLOURS

RONALD LANGFIELD TWO WATERCOLOUR DRAWINGS View of a house AND Coastal scene AN UNFRAMED WATERCOLOUR DRAWING OF A BOY HOLDING A DOG TWO OIL PAINTING ON ARTIST BOARD Still life of flowers AND Fishing boats at sea All signed 13 ½"" x 17 ½"" (34.3cm x 44.5cm) AND LES PARSON OIL PAINTING ON ARTIST BOARD Moored yachts on a river Signed 11 ½"" x 13 ½"" (29.2cm x 34.3cm) (6)

Alan Reed (b.1961), Durham Cathedral, signed lower right, watercolour, framed. 46cm by 69cm This lot is subject to ARR. Note: Born in Corbridge, Northumberland, into a family with a history of painting. His father is the internationally acclaimed golf artist Ken Reed.

A collection of pictures and prints including a pastel study of a ginger and white long haired cat, signed bottom right Mary Elizabeth Poulter and dated 78, a watercolour study of a Dover town scene, signed E Baker, further unframed watercolours including a scene in a Spanish style courtyard, an 18th century black and white engraving of a young girl after P Falconet, an oil painting on board of a panoramic landscape, signed with initials bottom right RH, probably for Roy Hewish, etc

A set of three Chinese watercolour paintings on silk, 20th Century, each rectangular panel filled with a bird perched in a blossoming prunus branch, red seal marks to corners, approx 54cm x 19.5cm, framed and glazed, together with a similar painting, framed and glazed.

PICTURES. An oil painting, a watercolour design for an inn sign & a 19th century print.

JOSEPH BARNES (BRITISH, 1835-1915) `On the Greta` [The river Greta, near Keswick] Watercolour with touches of bodycolour, signed `J. Barnes` lower left and dated 1891, titled verso in an unknown hand, with details of Barnes`s membership of the `19th Century Art Society` and the painting`s exhibition history, 46cm x 71.5cm.

MANNER OF ISAAC CRUICKSHANK. A Soiree, watercolour, 4 x 6 1/2 in; a watercolour by an imitator of Rowlandson depicting Figures in a prison cell; and an oil painting by another hand depicting a Stage Coach and Horses; three (3)

ARTHUR SUKER Mounts Bay on a Stormy Day Watercolour Initialled 43 x 75cm Condition Report: the mark in the sky is a digital defect (i.e. not on the painting). It is not on the actual watercolour. The piece itself is in good condition.

ARTHUR WHITE Figures in Old St Ives Watercolour Signed 25 x 38cm Condition Report: There is some very light foxing and slight fading to this painting. Slight deterioration of original colour, slight discoloration of paper, no obvious damage or decay. Glazed.

HERBERT E. BUTLER Looe Watercolour Signed 18 x 27cm Condition Report: This painting is slightly faded but no visible foxing.

HERBERT E. BUTLER Looe Watercolour Signed 18 x 27cm Condition Report: There are a couple of tiny brown marks in the painting together with some fading. Not original frame.

DOUGLAS PINDER Polperrow Harbour Watercolour Signed 26 x 37cm Condition Report: This painting is slightly faded but no visible foxing.

T.H. VICTOR Mousehole Harbour Watercolour Signed 14.5 x 23cm Condition Report: This painting isbehind non-reflective glass, therefore some distortion may be present on images. In good order and has its original frame.

T.H. VICTOR Mousehole Harbour Watercolour Signed 14.5 x 23cm Condition Report: This painting is behind non-reflective glass, therefore some distortion may be present on images. In good order and has its original frame.

BRYAN PEARCE Three Fishing Boats Watercolour Signed 22 x 29.5cm (See illustration) Condition Report: The mount is in poor condition but the painting is still good. The colours are still bright.

A Chinese hanging scroll with watercolour painting of peaches and grasshopper, text and seals, image height 3'6.

A watercolour entitled Barnet Fair signed George Cattermole 1800-1868 - 22cm x 33cm Condition report: possibly some over painting/highlights

An early 20th century signed coloured etching of the interior of Burgos Cathedral, signed in pencil left and right J Alphege Brewer and Henry C Brewer, inscribed Burgos Cathedral and further inscribed with a location to the gilt mount, 7 2 x 47 cm in moulded gilt frame together with a small oil painting on canvas of a white washed farm house, a small watercolour of a lake scene with castle, etc

A collection of various pictures and prints including an oil painting on board of abstract figures, an oil painting on board of a village street scene by Peggy Howgego, a watercolour of a Thames river scene attributed on the mount to J Varley, a further river scene with arched bridge, signed Charles Hatfield, etc, a pastel of a kitchen interior scene by Richard Gilbert, two watercolours, one of a town street scene, the other of a lakeland view, both signed Janet Joyes, etc, various sizes (all framed)