We found 11462 price guide item(s) matching your search

Martin Hardie Watercolour painting in Britain, 3 vols (Vol III 'The Victorian Period' - a first edition, clothbound with original dust jacket) (3)

•MARY NICOL NEILL ARMOUR RSA, RSW, RGI, LLD (1902 - 2000, Scottish) MIXED PANSIES Oil on canvas, signed and dated, 46 x 30 (18 x 12") With artist label on the reverse Mary Nicol Neill Armour was a Scottish landscape and still life painter and former Honorary President of the Glasgow School of Art and of the Royal Glasgow Institute of the Fine Arts. Born on the 27 March 1902 at Blantyre near Hamilton, she won a scholarship to attend Hamilton Academy. At the Academy she attracted the attention of art teacher Penelope Beaton, who was later to become Head of the Junior Department, Edinburgh School of Art) who persuaded Mary`s father to allow his daughter to enroll at Glasgow School of Art, where she was to study from 1920. In 1925, after a post-diploma year and teacher training, Mary Steel became an art teacher. In 1927 she married the landscape and figure painter William Armour. Mary Armour was to exhibit regularly at the Royal Academy The Royal Scottish Academy (winning the Guthrie Prize in 1937); the Royal Society of Painters in Watercolour, the Scottish Society of Artists and the Royal Glasgow Institute of the Fine Arts. In 1941 she was elected an associate of the Royal Scottish Watercolour Society becoming a full member in 1956, and became a Royal Scottish Academician in 1958. Armour taught still life painting at Glasgow School of Art from 1951 to 1962 when she retired from teaching and returned to painting full-time. In 1972 she was awarded the Cargill Prize at the RGIFA (Royal Glasgow Institute of the Fine Arts) becoming a full member of the RGIFA in 1977. In 1982 she was awarded an honorary LLD from the University of Glasgow Armour was also elected Honorary President of the Glasgow School of Art and of the RGIFA, which awards the annual `Armour Award` for a work of distinction by a young artist.

Mary Ward (20th century) full length study of a seated lady, signed in pencil, 33cm by 19cm together with another two portraits by different hands and K. Calcutt still life painting class, signed, watercolour over pencil together with four other pictures by different hands (8)

A quantity of Pictures incl. Watercolour of Ross on Wye,1787, painting of a corn field, oil painting of Bluebells, etc.

Frank Martin (1921-2005) 'Aurora Drive', Watercolour, signed 55 x 34 cm, (original painting for 1978 drypoint) May be subject to artist resale rights

WYLLIE, W. L Marine Painting in Water-Colour with twenty-four examples in colour by W.L. Wyllie, org. cloth, oblong 4to, Cassell, 1919. With 2 signed letters by Wyllie, one stating, `I do not give lessons in watercolour but Mr Martin Snape of Spring Gardens College Gosport who is a very delightful painter would teach you well.` With - other works and ephemera illustrated or about W.L. Wyllie inc. We Were One A Life of W.L. Wylie by M.A. Wyllie (1935). (14)

A watercolour painting of a man catching a fish, together with two fisherman decorated plates. (3)

Henry Clifford 1821 - 1905, Submarine Telegraph Engineer, assistance engineer to Sir Charles Bright (First Atlantic Cable 1866). Henry Clifford was born in Hull and, as a young man, was in partnership with Thomas Brown and Edward Gibson. Clifford was also a noted marine artist (The National Maritime Museum at Greenwich has four of his oil painting This lot consists of: 1. 100 photographs, various sizes, mostly family and countryside but includes three orig cable laying vessels 8 x 5ins, 1870's. 2. Bill of Sale quarter part of vessel "Lynx" Peter Middleton to Henry Coates 1797; four Bills of Lading goods Hull to Hamburg, 1800; Bill for trespass 1806 names Dopkin, Cundall & Roe; twelve Bills of Sale for Ship "Lynx", Ship "Clifford" and Ship "Holderness" and "Crown" and "Dixon". 1802-1824; Dissolution of Partnership W. Clifford from firm Taylor, Clifford & Bright 1844. 3. Apprenticeship document Clifford to Dopkin 1804; plus five later apprecenticeship documents. 4. Baptisms or Births, quan 1745 - 1927. 5. Wills, Henry Field 1790, others plus Henry Clifford 1905 and summary account. 6. Deeds and Leases, 1715 and later. 7. Henry Clifford: quan letters 1870's. 8. Henry Clifford: a series of ten testimonials re his appointment Superintendant Marine Engineer, Hull 1851. 9. Indentures property South Ropery, Hull 1680 and later. 10. Three manu "Oath of a Burgess or Freeman of Kingston-upon-Hull." 1812 - 34, plus other misc. material. 11. Interesting ALS Henry Clifford on U.S. Frigate Niagara Aug 17, 1857 to Charles Bright concerning state of Telegraph Cable. 12. Original watercolour by Henry Clifford showing below deck scene in rough weather 7 x 10ins, mid 19th century.

Various volumes, Art including Martin Hardie, watercolour painting in Britain, vol 2

Three volumes Martin Hardie, Watercolour Painting in Britain

Reuben Ward Binks (British 1860-1950) `CH CROSSFELL`^ watercolour^ an English setter in profile^ signed and dated 1925 lower right^ entitled lower left^ within a card mount^ gilt slip and ebonised frame under glass. 25cm x 35cm Spotting and discolouration to mount^ and to painting in a much lesser degree.

Dorcie Sykes (1908-1998), Still life of a vase of flowers beside a Staffordshire figure, signed lower left, watercolour, framed. 52cm by 50cm Note: Born in Sheffield, the daughter of John Gutteridge Sykes, and educated at Penzance High School. Studied under Stanhope Forbes at the Harvey & Procter School of Painting.

Attributed to Sir David Wilkie (Scottish, 1785-1841), Revelers in an inn, possibly a preliminary study, watercolour, framed. 46.5cm by 35cm Note: Several of the characters in this painting appear in works by Wilkie.

Edward Killingworth Johnson R.W.S. (1825-1923). Mounted watercolour. Young woman in a rose garden. Signed. 22" x 12". Condition Report : Good condition. Very minimal water damage to the painting. Mount tired probably needs replacing when re framed.

A framed coloured print of a girl in a white petticoat, a framed arts and crafts print, a tryptic of three plates of Churches, a Watercolour of an Estuary scene and an Oil Painting of two Deck Chairs. 5 in total

ARCHIBALD, Dictionary Sea Painters, WOOD Christopher, Dictionary Victorian Painters, Dictionary British Artists, Marine Painting, British Watercolour Artists and MASINI, Art Nouveau (6)

A Sidney P. Winder watercolour painting of Horner Valley signed P. Winder was a Bolton artist who ran a artist supply shop in Great Moor Street, Bolton for many years - 34cm x 24cm actual picture

Berrisford Hill - An Original Watercolour; the painting depicting pheasants in a pastoral setting, approx. 54 x 34 cms.

HUBERT WILLIAMS. Farmbuildings with chickens on a lawn nearby, said to be on The Isle of Wight, signed and dated 1949, watercolour, 9 1/2 x 12 in; and an oil painting by J.M. Hodges depicting a landscape; two (2)

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

A collection of pictures and prints including a 19th century watercolour of a winter scene with horse drawn cart, 17 x 33cm (unframed), an oil painting on board of an old man playing an accordion and accompanied by a dog, signed bottom right R W Avery, 54 x 42cm, a watercolour of a water mill, indistinctly signed bottom left, a pen and ink caricature of a busy scene with holiday traffic, sheep, etc, inscribed "Butlin Walk March 1st 1960", 35 x 45cm in gilt frame, two Chinese woodcuts (in one frame) of figures gathering bamboo, 19 x 26cm overall size of woodcuts in simple wooden frame, etc

A large Australian oil painting on canvas by Lesley Meaney showing a view through a window into the ruin of a pioneer village in north west Australia, signed bottom right Meaney, 110 x 80cm (unframed) together with an early 20th century black and white etching by G Boulet of a stylish young woman with hat box, with red printed stamp to lower right, 35 x 14cm in gilt frame, an early 20th century watercolour of a coastal scene, a sepia coloured print after Van Dyck of a child holding an apple and a further set of three coloured prints of woodland scenes (framed as one)

A collection of 19th century and other pictures and prints including an oil painting on canvas of a mountainous landscape with river, signed bottom right B N Lamb(?), 46 x 37cm (unframed) together with a signed early 20th century coloured etching by Marcel Anges, depicting a windmill, 24 x 19cm in floral embossed frame, a watercolour of a London scene with River Thames, etc, signed bottom left K Barkenray and dated 1948, 21 x 34cm (unframed), a similar Thames view, probably by the same hand, a royal military commission dated 1889 in the rank of Second Lieutenant, a 19th century coloured engraving of a Elizabethan style wedding party, etc

An oriental painting on glass panel of figures gathering fruit from a tree, 49 x 31cm in wooden frame, an oriental watercolour painting on a leaf showing three female figures including an archeress and two further small oriental watercolours of birds

An oil painting on board of hydrangeas in a blue bowl, signed bottom right Lillian, 30 x 40cm in blue and cream frame, a watercolour study of hellebores, signed bottom right David W Birch with various inscriptions, 17 x 13cm, a Victorian watercolour study of wild flowers, a Victorian coloured print of birds amongst flowers, 7 x 23cm overall in a mahogany frame, a collection of mounted prints including a signed caricature by Simon Drew with puns on Shakespearian subjects, a pair of limited edition coloured prints of birds after Dorothea Buxton-Hyde, a 19th century coloured engraving of a Scarlet Macaw, etc together with three books including Persuasion by Jane Austen illustrated by John Austen and published by the Avalon Press 1946, etc

A 20th century Chinese watercolour painting of a river landscape depicting a small village and flowering trees with floating fishing boats, signed with a poem, three seal marks

Henry Charles Fox (1860-1929), CATTLE IN A COUNTRY HOUSE BARN AND FIELDS; SHEEP ON A COUNTRY LANE A pair, signed and 1912 l.r., watercolour and bodycolour 38 x 56cm (2) CONDITION REPORT: Staining around edges. Lines from mount visible on sheep painting. Fading and browning to sky. Neither viewed out of frames. Glass on cattle painting broken.

A large watercolour framed and glazed painting of a still life garden scene. Framed and glazed

WG Lott - framed and glazed watercolour painting of a Cotswold farming scene with church to background. Signed to corner. 18cm x 13cm.

A photo engraving Emery Walker Christchurch, Oxford, 53 x 75 cm and Framed colourprint and a Watercolour drawing A.S. Lowes River scene with bridge and sailing boats, a Painting on silk of a soldier and a quantity medieval style prints and one other (8)

A Chinese watercolour painting of a bird on a blossoming branch, signed Yu Fei'An, 88 x 36.5cm

A framed Japanese watercolour painting on silk depicting Mount Fuji with pine tree to side and boats in foreground, approx. 57cm sq. inc frame

Four prints, a watercolour, a painting on silk and a landscape oil on canvas

A large frame watercolour of a Dutch landscape dated 1944 signed A Fontijn - painting size 79 cm x 48 cm

A pair of 19th century watercolour paintings of Arab`s by the riverside showing women collecting water the second with Sailing Dhows - painting size 39 cm x 23 cm - indistinctly signed

Two Victorian miniature watercolour portraits in rosewood frames - painting sizes 10.5 cm x 11 cm and 11 cm x 8 cm

Audley Gunston, 20th century, A watercolour on paper, `The Garden of Dreams` 25cm x 19cm, signed and dated 1925 top right, framed and glazed, bearing Royal Institute of Painters in Watercolours label to reverse some foxing present to mount, overall condition to painting is good,

Paul Jacob Naftel (British, 1817-1891) An artist, possibly Maud Naftel and companion beside a stream, Westmoreland watercolour, heightened with white, signed and dated 1884 lower right 13¼ x 9¼in. (33.5 x 23.5cm.) * Records of paintings submitted to the Old Watercolour Society exhibitions show several of Westmoreland painted by Naftel in 1884. This painting appears to show a young female artist seated on rocks with a sketch book, probably Naftel`s daughter Maud, who was a talented artist in her own right, together with a companion, possibly her father, holding a portfolio. See Illustration.

A framed Watercolour of a Mountain Trail with people on horseback, signed lower right with added caption 'My first painting with Mr. Pearson' possibly dated 1854, 13½'' x 9'' approx

Chinese ancestor painting, watercolour, 171cm by 90cm

Chinese School Seated scholar holding up a cup amongst inscriptions 67cm by 47cm; a scroll painting including three fish and inscriptions; a Japanese painting of chrysanthemums on silk, 33.5cm by 40cm; a small watercolour signed Rafael and Ngong Pin 87; Chinese School Mountainous landscape with boats on a river 45cm by 68cm (5)

SAWREY GILPIN, R.A . ( 1733-1807) Horses in a Thunderstorm signed `S. Gilpin` (lower right) watercolour 20 x 28 1/2in (50.7 x 72.3cm) A sketch for the artist`s Royal Academy Diploma Work (1798). The finished oil painting of the same subject was widely acclaimed at the time, and regarded as Gilpin`s masterpiece It`s romantic image even inspiring Eugene Delacroix in 1825 to paint a copy.

THOMAS COLLIER R.I. (1840-1891) Adrian Bury writing in 1934 commentated that the `fifty odd years that have passed since his death have drawn all but an impenetrable veil over a man who must take his place among the supreme watercolour painters of England`. Thomas Collier still remains in the early twenty-first century, something of a forgotten name. His reputation though as one of the ablest of the mid 19th English landscape artists remains intact. His landscapes firmly placed in a tradition of English landscape painting established by Peter de Wint, Constable, Cotman and Cox. His work widely admired by a number of his contemporaries within the Birmingham School, including B.W. Leader, John Syer and Edmund Wimperis. The artist John Orrock was a particular admirer of Collier`s work . He recorded of his style that he "was the finest of sky painters especially of rain and cumulus clouds... of moorland with brilliant skies, full of accident". He had no rival... he and Muller were the most impressive sketches from nature I know". As a young man Collier trained at the Manchester School of Art and at that time often travelled to Wales, staying at Bettws-y-Coed. Some of his earliest work showing a distinctly Pre-Raphaelite influence. He exhibited regularly at the Birmingham Society of Artists and in 1870 sent three watercolours to the Royal Academy which were all exhibited. In the same year he became an Associate of the Institute of Painters in Watercolours, and a full member in 1872. During the 1870`s , Collier moved to London. However he never lost touch with Birmingham. Indeed he continued to exhibit at the Royal Society of Birmingham Artists Gallery between 1870 and 1889. Collier travelled extensively and each year the summer months were devoted to sketching tours. He was especially fond of the landscapes of North Wales, East Anglia and Sussex. Collier achieved considerable recognition as an artist during his lifetime both in England and on the Continent. He was exhibiting in Paris as late as 1889. Bury though concedes that his work was never `in the most fashionable category`. Another contemporary commentator succinctly recorded that "His work was too detached from everyday experience, too rich in the subtle and elusive mood of poetry to win the attention of those who liked to see the obvious in art..." Ironically it is perhaps those same understated qualities that makes Collier`s work appealing to connoisseurs today . THOMAS COLLIER, R.I. (1840-1891) Arundel Castle from the Park watercolour 8 ½ x 13 1/2in (21.7 x 34.3cm) Provenance: with The Ruskin Gallery, Stratford Upon Avon . Sold with another watercolour by the same artist depicting` An extensive moorland landscape ` (Provenance: Abbott and Holder Ltd); two (2) Arundel Park provided Collier with the inspiration for a number of watercolours. Bury noted that " The Downlands of which Arundel Park is a historic entity, were but the logical choice for an artist intent upon broad rolling lands and expanses of sky" .A larger watercolour from a similar vantage point depicting Deer in the Park at Arundel was exhibited by Collier in the Paris International Exhibition in 1878, when it gained him the Legion of Honour.

George W. Chambers (1857-1897), American MISTRESS CORNELIA (THE ARTIST’S FIRST WIFE); Oil on canvas; signed and dated 1885 at Kirkwood (Missouri) lower right, signed and titled to artist’s label from “St. L. School of Fine Arts, St. Louis, Missouri” accompanying this lot 39.5" x 23.5" — 100.3 x 59.7 cm. Provenance: Collection of the artist and his wife, Cornelia, Malpeque, Prince Edward Island; Dr. James Keir, Malpeque, Prince Edward Island; By descent to their granddaughter, Mary Margaret Elizabeth Auld, Malpeque, PEI; By descent to the present owner’s mother’s brother, Malpeque, PEI; By descent to the present owner’s parents who recovered the two paintings from the house of Dr. Keir where they had been held in the family residence in Malpeque, PEI since their execution; By descent to the present, Private Collection, Orillia This painting and the next lot (lot 7) were acquired by the parents of the present Private Collection when the Malpeque residence was sold Literature: The Spectator, St. Louis, Vol. 6, Oct. 3, 1885, p.72, there is mention of a painting by Chambers with the title of “Mistress Cornelia”; H. Barbara Weinberg, The American Pupils of Jean-Leon Gerome, p.104, Chambers listed; The following literature references to Chambers was provided by The Missouri History Museum, St. Louis, MO: Missouri Historical Society Bulletin”, Vol. XXIV and Vol. XXVII (by M. Patricia Holmes); Gateway Heritage”, Vol. 8, Number 1, Summer 1987, “Chambers Watercolour Presented to Art Collections”; Pen and Sunlight Sketches of Saint Louis” Phoenix Publishing Company, Chicago, p.127; St. Louis Up to Date”, 1895, p.228; Walter B. Stevens Scrapbook 46, p. 65 Note: The painter and teacher George W. Chambers was born in St. Louis, Missouri, in 1857. Little is known of his life until 1880 when he entered the Paris studio of Jean Léon Gerome, the French classicist. He remained in Paris until 1884, studying with Gerome and also with Julien Dupré, whose Barbizon style influenced his early work. At this time, he was made a professor in the St. Louis Art School and later organized the Art School in Nashville, Tenn., where he was appointed Director in the 1890’s. He painted American subjects upon his return to the US, particularly landscapes “full of warm color, light and beauty”. Mistress Cornelia” was painted the year after Chambers returned to Missouri from Paris. She is believed to be Chambers’ first wife and either a grandmother or great grandmother of the consignor’s mother. Cornelia died prior to 1893 when he married Bilo Keir, the woman depicted in the following lot (lot 7). In the October 1885 issue of The Spectator, the writer describes the artist’s studio in Kirkwood and the work Chambers executed during the summer of 1885: Mr. Geo W. Chambers has completed an admirable studio at Kirkwood. He has completed a most satisfactory picture, which will doubtless be exhibited at the Pettes galleries. It is called ‘Mistress Cornelia’ and illustrates the following lines from Chaucer: ‘For in her living, maidens mighten rede, as in a book, Every goode word and dede which longeth to a maiden vertuous, She was so prudent and so bounteous’. The type is not of Chaucer’s time or our own, but every age wherein dwells maiden sweetness and goodness and truth. The landscape is true and good, and thoroughly of our own country. The distance is most charming and clear, but not too distinct to interfere with the interest in ‘Mistress Cornelia. It seems to me to be one of the best of Mr. Chamber’s productions’. (W.R.H.) The present owner remembers his mother and her sister often talking about “Aunt Anne” and Bilo (the subject of the next lot by the artist, lot 7) in PEI. The two women remember how Aunt Anne and Bilo never got along and their was always tension between them. The Keir House is a large, two storey, Georgian house, established circa 1810 with neo-classical design elements situated on the edge of Malpeque Bay, Prince Edward Island. The house is valued for its age, its association with the Presbyterian minister, Rev. Dr. John Keir (1780-1858) and his family, and the prominent role that the family played in community education for Malpeque and surrounding areas. The house also has a connection to Lucy Maud Montgomery, who was a friend of John Keir’s daughter Anne. For more about the Keir house see http://www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=18765 Starting Price: $2500

A pair of early 20th century watercolours of coastal scenes, one probably at Clovelly, indistinctly signed bottom left and bottom right J Syen?, 33 x 50cm (one framed and one unframed) together with further pictures including a watercolour of a continental village scene with female figures, an oil painting on canvas of a mountainous landscape with hay field to the foreground, etc

A pair of watercolours by Giles Sims of architectural subjects together with a further smaller coloured etching by the same artist, an oil painting on board of an open landscape with corn field, signed bottom left Haddrell and with label verso "Vic Haddrell, Wotton-under-Edge", 42 x 60cm, a pair of sepia watercolour studies of shops at Thornbury, etc, signed bottom right Hague, a watercolour of a water mill on the River Mole by Vernon Wildgoose, signed bottom right, 31 x 23cm in gilt frame, etc

ANTHONY PEGARET (1915-2000) - Original framed watercolour painting of a ballerina

Harold Moss, a watercolour, "Derwentwater". 8 ins x 14 ins, framed, signed and dated 1895. NOTE-Harold Moss was one of the early members of The Lake Artists Society. This painting was purchased from Moss Galleries in the 1970s and was exhibited at Brantwood, Coniston for The Lake Artists Society Centenary Exhibition 2004.

Edward Arden (Tucker) circa 1847-1910, a watercolour, "Rydal". 14 ins x 21 ins, framed, signed. NOTE-Member of The Lake Artists Society. This painting was exhibited at Brantwood, Coniston for the Lake Artists Society Centenary Exhibition 2004.

RICHARD SEBRIGHT (1870-1951)FIELD POPPIESsigned, watercolour, 46.5 x 28cm and a smaller study of Helebores by the same , signed with initials, watercolour (2)Provenance: By direct descent in the artist`s family to the present vendor.Exhibited: (Field Poppies) Royal Academy, 1911, No.976.Richard Sebright spent his entire career at the Royal Worcester Factory where he excelled at painting fruit and flowers. Such was his reputation that Sandon (Royal Worcester Porcelain, 1973) observed that he was "... the finest fruit painter even among the many fine exponents in his day and must rank as one of the finest fruit painters [on ceramics] of any period." In the 1930s he was paid only 6d (2.5p) per plate centre and at the end of his career his weekly wages were only about 45/- (£2.25p). Sandon, op cit, refers to his having exhibited several flower studies at the Royal Academy however Field Poppies is the only work listed in the RA Exhibition Catalogues. Both works in fine condition and not previously offered for sale.

DAME LAURA KNIGHT, DBE, RA, RWS (1877-1970)ON THE BEACH FELPHAM/MIDDLETON ON SEAwatercolour, 36 x 25cmProvenance: P Philips & Sons, Cookham, Berkshire. Mr R John Croft has kindly provided the following footnote: "In 1929 Laura joined the Mills/Carmos tour round the South Coast of England, one of the circus venues was Bognor Regis.Laura`s close friend Ethel Bartlett, the famous pianist who played duet with her husband Rae Robertson, advised Laura that when the circus stopped at Bognor Regis she should introduce herself to her sister Edith de Peyer who lived nearby at Middleton on Sea.The Knights became very close friends of the de Peyers and their family. A painting of the family, painted on the beach not far from their home at Middleton on Sea was exhibited at the RA in 1932 called A Seaside Holiday: Mr and Mrs Esme de Peyer (Edith Bartlette) and their children. One of the children later became the famous clarinetist Gervase de Peyer, one of the great instrumentalists of the second half of the 20th century.It was on one of the Knights` visits to the De Peyers that they met the Thirwell family and painted the scene of Dorothy, one of the daughters of Mr & Mrs Thirwell holding a horse from her father`s Riding School, on a beach between Felpham and Middleton. The work will be included in the Catalogue Raisonné currently being compiled b y the artist`s great nephew R John Croft, FCA.In fine condition, in modern frame as purchased from a gallery by the present private vendor some years ago

Frederick Donald Blake - Figures painting on a Quayside, watercolour and ink, signed, approx 34 cm x 46.5cm, within a gilt frame.

A set of four Chinese watercolour paintings on paper, each depicting two figures carrying a vessel in an exterior setting, framed, together with another Chinese watercolour painting of a figure and a Buddhistic lion (some staining and faults).

* A Mughal style Indian miniature painting of a nobleman, possibly Kisangarh School 17th century, standing full length, turning to one side, wearing translucent garment, bearing script to reverse and mounted in card surround, opaque watercolour on paper, 12cm high x 7.5cm wide. VAT charged on hammer price.

* An Indian miniature painting of figures on a terrace with nobleman on horseback smoking, having landscape behind, bearing script to reverse and mounted in card surround, opaque watercolour on paper, 19.5cm high x 29cm wide. VAT charged on hammer price.

* An Indian miniature painting of figures tending to horse, the horse wearing ornate saddle and jewelled harness, having green background, mounted in card surround, opaque watercolour on paper, 18.5cm high x 27cm wide. VAT charged on hammer price.

* An Indian miniature painting of Devgandhar Ragini, possibly Hyderabad 18th century, an ascetic seated on an animal skin at a shrine in a landscape, bearing script to reverse and mounted in card surround, opaque watercolour on paper, 23.5cm high x 16.5cm wide, (a/f). VAT charged on hammer price.

* An Indian miniature painting of a Maharaja with attendants, possibly Mewar 18th century, walking in green expansive landscape, bearing script to reverse and mounted in card surround, opaque watercolour, 29.5cm high x 24cm wide. VAT charged on hammer price.

* An Indian miniature painting of a warriors riding elephants, with further figures in landscape, mounted in card surround, opaque watercolour, 35cm high x 25cm, (a/f). VAT charged on hammer price.

* An Indian miniature painting of females within a landscape, some on a terrace and further figures within a building, mounted in card surround, opaque watercolour, 22cm high x 28cm, (a/f). VAT charged on hammer price.