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Lot 149
An interesting Suffragette Movement miniature watercolour painting, showing an airship with “Votes for Women” banner along its length. Flying over a stylized view of white cliffs and English Channel. Signed “W 1913 Capel”. 8x12cm. Neatly mounted and framed in gilt. Note on back: “Pankhurst 1912-13”. VGC. Plate.9
Lot 150
A watercolour painting of three Zeppelins approaching the English coastline at night. Marked “Mathy’s Super Zeppelins, Kent, October 17, 1917". 13x28cm. Mounted and framed. Together with another watercolour, of an airship hanger (Cardington?). In a flat landscape. Unsigned. 19x24cm mounted. GC. (2). See website.
Lot 151
A small watercolour painting titled on the back, “A Flt. Dover Patrol”. Showing three airships over estuary. Signed “James Page, Chatham 1916, from Fort Pitt. Notes on back: Airships SS20 SST3 SS20 passing over Medway R to Kingsnorth RNAS 16.5.16 18:00 hours Sunday, etc. Mounted and framed. 32x40cm. GC. (loose in frame) Plate.9
Lot 154
A sepia watercolour painting of the LZ37, flying the Imperial German flag, above its hanger and distant landscape. Inscribed “LZ37 Ober’lt Otto van der Haegan 1915 Haar”. Mounted and framed in maple. 37x48cm, Pencil note on the back reads “RNAS No. 16 Sunday 6th June 1915 WP/CPBNS Bradbury Down by S/Lt Weanearh 1 Sqrn. DKS An Arnold”. GC. Plate.10
Lot 158
A small oval oil painting of an early French airship. Pencil note on back “Albert Santos-Dumonts Dirigible No 6 with gas searchlight 1901 Paris”, 115x80mm. Plus a small watercolour of British MTB31 with airship above, white cliffs and warship in the background. Marked “Dover”, 65x120mm. Both mounted and framed in gilt. VGC. (2). See website.
Lot 160
An impressive original watercolour painting, of the WW1 British airship SS40. Flying over a scene of fishing boats drawn up on a beach, with waving onlookers. Signed M de Page, Kent. Well mounted and framed. 50x67cm, with details on the back, including in a contemporary hand, 17 RES Brompton Kent SS40 Block ship RFC 3rd Brig. France.!! VGC. Plate.11
Lot 506
Madeline Selfe, British 1910-2005- Roe deer and calf; watercolour and charcoal, signed, with a photograph of the painting being presented with Mervyn Malcolm, Ron Howard and Gen Sir Stuart Pringle, 26x32.5cm: John Andrew Bawtree, British b.1952- "Orkney Storm", 1981; oil on board, signed, 63.5x75.5cm, (2), (may be subject to Droit de Suite)
Lot 849
Edward R. Taylor R.B.S.A. (1838-1912), "The Village Well", signed and dated 1879, oil on canvas, 50 x 59.5cm.; 19.75 x 23.5in. * Born at Hanley; son of a manufacturer of earthenware, with whom he worked as a youth, but afterwards entered the Burslem School of Art for training as an art teacher. Studied also at the Royal College of Art. Exhibited from 1861, at the Royal Academy from 1865, British Institution; Society of British Artists - Suffolk Street; New Watercolour Society; Grosvenor Gallery; New Gallery and elsewhere. This painting may have been exhibited at the Royal Academy in 1879.
Lot 299
Samuel Phillips Jackson (1830-1904) ‘Kynance Cove, Cornwall; Stormy Sunset’, figures on a shore hauling-in nets signed and dated S P Jackson 1871 bottom right 57.5 x 95cm. * Exhibited at The International Exhibition of 1871.Samuel Phillips Jackson (1830-1904). Son of the artists Samuel Jackson (1794-1869). Born in Clifton and exhibited from 1850. Elected AOWS in 1853, turning then almost exclusively to watercolour painting. Lived at Streathley-on-Thames for many years, latterly retuning to Clifton.
Lot 227
Nicholas Garland (born 1935) - Watercolour - “Batting at No. 10” - Cricketing cartoon showing five British Prime Ministers, commissioned by Sir Colin Cowdrey C.B.E., signed, and a limited edition print of the painting, No. 5 of 25, each 8ins x 14.25ins, in single gilt frame and glazed with metal inscribed plaques to each
Lot 1075
Eric Harald MacBeth Robertson (1887-1941) Modern allegorical subject, with four female figures Watercolour, unsigned 21 x 17 cm Footnote: Eric Robertson and his first wife, Cecile Walton (daughter of the painter E A Walton) were an artistic couple of exceptional talent in the first few decades of the 20th century. Their story is told in `The Two Companions` by John Kemplay (Edinburgh, 1991). Besides exhibiting at the Royal Scottish Academy, they were members of the Edinburgh Group, a Society that exhibited more challenging art between 1912 and 1921. The couple`s lifestyle raised eyebrows, as did Eric Robertson`s highly charged erotic subjects. Cecile Walton`s most famous painting is her self-portrait as a nursing mother (called `Romance`) in the Scottish National Portrait Gallery.
Lot 16
Frank McKelvey RHA RUA (1895-1974) The 'Ballyloran' Approaching Bank Quay, Larne Watercolour, 24 x 33cm (9.5 x 13") Signed Provenance: Commissioned by John Kelly Ltd for their Kelly Calendar, 1960. This painting by McKelvey is interesting as it is looser than his typical watercolours. The result is a vibrant composition and one of the few commissioned Kelly works that features a quay, probably due to coal being Bank Quay's main cargo with figures in black busy at work. The balance of the ship's depiction to the left and the quay activity on the opposite side coupled with the unifying elements of land, sea and sky make this an attractive watercolour. It was used for the Kelly Calendar in 1960. The Bank Quay, situated on the tidal western shore of Larne Lough, has been closed since 1995. Previously regular coal imports were shipped in through the Bank Quay along with other dry bulk cargoes such as china clay. It has been under the ownership of various fuel importers through the years and was a regular calling point for the Kelly collier fleet. The 'Ballyloran' was built by A Hall & Co. at Aberdeen in 1958, 1290gt for John Kelly Ltd, and was the firms first motorship. She and her sister Ballylesson were driven by six-cylinder British polar engines. The 'Ballyloran was sold in 1981 to Egyptian interests. Marianne O'Kane Boal, May 2012
Lot 19
Frank McKelvey RHA RUA (1895-1974) Queen's Quay, Belfast Watercolour, 26 x 38cm (10.25 x 15") Signed The Kelly Boats were a familiar sight in Belfast for over fifty years. Once the biggest coal merchants in Belfast, the company still exists today as Kelly Fuels but the ships and family connection have gone. A book was published in 2009 by the World Ship Society and authored by W.J Harvey entitled 'Kelly's Navy: John Kelly Ltd., Belfast - A Group Fleet History of John Kelly Ltd of Belfast.' This gives a detailed historical overview of the company and provides details of over 200 vessels. The coal business was established in Queens Quay Belfast by Samuel Kelly in 1840. He first acquired a ship for transporting coal in 1861 - the Brigantine William of 108 gross tonnes. From that time until the 1980's the "Kelly's Coal Boats" became a common sight in coastal towns throughout the country. After Samuel Kelly's death, his son John took over the business and it became known as John Kelly Ltd in April 1911. An extensive fleet of colliers-general cargo ships was gradually built up. Six of the earliest steam vessels acquired by the company in 1890 were 'SV Balmarino,' 'SV Argestes,' 'SV Kelpie,' 'SV Gartsherrie,' 'SV Agnes C James,' and 'SS Susannah Kelly.' From 1951, it was decided to standardise the names of the fleet by renaming. Although Irish place names continued to be used, from this time they were to begin with 'BALLY.' Similar names were allocated to the new ships on order, replacing their previously allocated names. Vessels after this time included 'MV Ballyedward,' 'SS Ballymoney,' 'SS Ballymena' and 'MV Ballyloran.' The fleet was impressive and readily identifiable by the ships' black and red paint. From 1890, the Kelly brand was communicated through blue, white and red stripes on the funnel accompanied by the letter 'K' to signal the company name. They often flew red flags with the letter 'K' also. In terms of a southern counterpart, the steam driven Guinness Liffey Barges that plied the Dublin waterways, remain in the collective consciousness from a similar period 1873-1931. According to W.J. Harvey 'Although the name Kelly is still seen around Ireland in the 21st Century, it is but a distant memory of the family business and 'Kelly's Navy' in the many ports around the country in the 19th and 20th Century.' John Kelly commissioned a number of artists to produce paintings of ships from the Kelly Line. They included Frank McKelvey, J.W. Carey, Charles McAuley, J. Collins, and W.A. Hume. These were often destined for the annual Kelly calendar which had one representative painting to illustrate the calendar each year. In 1920, Frank McKelvey was commissioned by Thomas McGowan of McGowan and Ingrams to produce a number of paintings of buildings that would make up the series 'Old Belfast.' This work was carried out by McKelvey over the following two decades and features buildings in Bank Street, Ann Street, Church Lane, William Street South and Smithfield Market. The very illustrative quality of these scenes is complemented by their topographical and historical importance. S.B. Kennedy has commented that 'the streets appear at times unconvincingly empty of people.' Yet the overall objective of the commission is to represent the architecture with fidelity and this is carefully achieved. The quiet streets also give a sense of early morning, perhaps, and this adds to their intimacy and appeal. This watercolour by McKelvey of John Kelly's Offices in Queens Quay, is executed in a similar vein. Again figures are few but there are enough to add interest to the composition along with the feeding birds in the left foreground. The focus is the architecture of the terraced businesses with their names carefully reproduced above the relative premises. The main producers of John Kelly and Hugh Craig are featured on the larger adjacent premises, with the horse drawn coal cart before it. Presumably, this painting is designed to highlight the success of Kellys' who were using their fleet to bring coal to Northern Ireland for the largest merchants such as Barkley and Craig as well as for their own distribution. The listed companies include a number of other coal merchants - Hugh Craig (coal merchant, owner of steamships/colliers at Queens Quay and Royal Avenue.) [Company also recorded in the Belfast Street Directory of 1877. Hugh Craig & Co. Ltd (1891-1975) 8 Queens Quay] John Kelly, (coal merchant and owner of steamships, 10 Queens Quay) John Neill, (coal merchant, 4 Queens Quay) Alexander King Ltd, (coal merchant and steamship owners, 21 Queens Quay) James Kingsberry (coal and fuel merchants continue to operate, now based in Sydenham Road). The painting is of historical importance in providing details of architectural fabric that has since vanished. Marianne O'Kane Boal, May 2012
Lot 30
Frank McKelvey RHA RUA (1895-1974) The Gypsy Caravan Oil on canvas board, 28 x 40cm (11 x 15.75") Signed Belfast born, the son of a painter and decorator the artist trained as a poster designer, which gave him, like his fellow Belfast man William Conor a terrific skill in giving a thin picture plane to which he grafted some very dense passages of impastoed pigment, which in turn gives McKelvey's early works their particular charge. By counter poising a thin almost translucent watercolour like medium as the background and the addition of vigorous action and movement as in this case of clothes on a washing line he could give great vigour to the static forms even of a large shape like the Caravan of the works' title. The form of the Caravan is more Romany than it is Irish Traveller and that could be accounted for by the number of Gypsies who travelled through Northern Ireland for horse fairs and as peddlers of fancy and soft goods. The foreground composition is typical of the artists handling of a meandering river through the composition, with its soft edges and young alders growing up along the riverbank. The soft brushing of the foreground forms and the translucent background throws the caravan and the washing line into prominence which is of course the real aim of the artist. McKelvey has learned lots of lessons in pictorial composition from Walter Brangwyn and Sir Alfred Munnings but McKelvey makes this subject very much his own, with its startling colour and shape in an Irish landscape. In his day he was considered the equal of Paul Henry and James Humbert Craig in his treatment of light and colour and one can quite see why. His early and middle period œuvre are his most important and whilst full of charm and whimsy are also very well crafted and constructed compositions, which appear almost effortless in their making. By using his signature on the foreground left, as a practice out of French "plein air" painting and the creation of triangular compositions using the blue of the shirt hanging on the washing line, the blue on the pole and the blue touches of cobalt in the foreground stream he contains the composition in a narrow band almost like a stage set, and the cerulean and green of the sky and the caravan all given little touches of red like the red headed child in the encampment, he enlivens the minds eye with this very charming work. Ciarán MacGonigal
Lot 134
Father Jack P. Hanlon (1913-1968) Figures at a Stall Oil on canvas, 40.5 x 51cm (15.9 x 20.1") Signed Provenance: Given by the artist to a friend and thence by descent, label verso Born in Dublin, Jack Hanlon originally studied for the priesthood at University College Dublin, Holy Cross and Maynooth College, but had begun exhibiting at the RHA at the age of twenty-one. His training mainly involved the art of looking, as he spent time in France, Belgium and Spain where he visited galleries, museums and cathedrals looking for inspiration. His formal training consisted of a spell at the studio of Andre Lhote in Paris, where he met Henri Matisse whose fauvist style was similar in ways to his own. 1939 was a significant year for Hanlon, as his work was included in an exhibition at the New York World Fair, and having completed his studies for the priesthood he was ordained. From that year on he enjoyed a steady run of exhibitions. From 1940 to 1968 he exhibited regularly with the Water Colour Society of Ireland, and had solo shows at the Victor Waddington Galleries in 1941, '46, '48 and '53. During the war years he also designed Christmas Cards for Victor Waddington Publications. Hanlon was involved in setting up the Irish Exhibition of Living Art, sitting on the first executive commission in 1943 and exhibiting with them frequently. His artistic output stemmed out from watercolour painting from the 1950s on. He was commissioned to create murals for the Irish Pavillion at the Chicago World Fair and also completed one at Our Lady Star of the Sea Church in Cobh, Co. Cork. This was just one of his ecclesiastical commissions. He executed numerous oils for churches around the country and in 1957 designed and supervised the production of vestments that were made by a group of seven Sisters of the Convent of Perpetual Adoration, which were then presented to Pope Pius XII by the Irish Government.
Lot 625
*Monte Carlo Rally -MGB GT Class Winner 1964. An original painting in the manner of Michael Turner, depicting the MG Car Co ex-works entry of Don & Erle Morley, on their final lap around the streets of the principality, to win the GT Class, watercolour, gouache & acrylic, in glazed frame, 20 x 24in (51 x 61cm). MGB Reg. No. 7DBL was on of three works team cars entered for the Sebring 12 hours race in 1962, variously campaigned during 1963, and acquired by the Morley Brothers, well-renowned rallying exponents, who finished 17th overall in the Monte Carlo event, winning the GT Class outright. The car was immortalised by both Corgi Toys & Scalextric, who produced toy models in full works livery as pictured. (1)
Lot 188
*McDonough (Kenneth). Fokker F2 (Reg. No. H-NARG) on the tarmac at Croydon(?) Airport, surrounded by figures and vehicles, monochrome watercolour and gouache, signed, 12.5 x 18.5 cm, together with an original pencil drawing by McDonough, WWI Fighter aircraft preparing for takeoff, signed, approx. 18.5 x 31 cm, plus an oil painting on board, RAF Coastal Command airship above the white cliffs of Dover(?), signed, 20 x 25 cm, all framed and glazed, plus a copy of A Picture History of Flight, by John W.R. Taylor, revised edition, pub. Hulton, 1958, presentation copy from Taylor to McDonough, signed and inscribed on title-page, `To our favourite artist - Kenneth McDonough - with every good wish, and thanks for the painting on page 73`, orig. cloth gilt, rubbed, 4to. Kenneth McDonough (1921-2002), aviation artist, founder member of the Guild of Aviation Artists, prolific aeromodeller, produced box art for many early Airfix kits, author of the monumental book Atlantic Wings (a copy of which can be found in lot 159). (4)
Lot 479
*McGilchrist (J.M.). The Airship R-34. An original painting depicting the RAF dirigible Airship c. 1919, watercolour with body-colour signed in ink by the artist and dated 1919, in original frame with maker`s label verso, 15 x 12in (38 x 31cm) The R-34 became Britain`s most successful Airship, traversing the globe many times during her career: latterly based at RAF Cardington in Bedfordshire, she was withdrawn from service and scrapped after the fateful demise of the later sister-ship R101 in 1931. (1)
Lot 44B
John Comerford 1770-1832 MINIATURE PORTRAIT OF JOHN PHILPOT CURRAN Watercolour on ivory, 3 1/4" x 2 3/4" (8.25 x 4.5cm), inscribed verso. Provenance: Collection of Terence deVere White by decent. Born in Kilkenny, Comerford was one of Ireland`s finest miniaturist artist`s. In the 18th Century this form of painting was particularly popular in Europe. Comerford was influenced by the English artist George Chinnery (1774-1882) who was working in Dublin from 1795-1802. Comerford was also influenced by the American painter Gilbert Stuart (1755-1828) who also worked in Dublin from 1787-1793. Comerford was highly regarded during his lifetime and many of his works were engraved.
Lot 44
Louis le Brocquy HRHA (1916-2012) THE CURRAGH, 1991 watercolour signed and dated in pencil lower left; with typed Solomon Gallery label on reverse; with artist`s archival number [W1077] also on reverse 7 by 10.25in. (17.78 by 26.04cm) Provenance: Solomon Gallery, Dublin From the artist`s `Irish landscape Series` (c.1987-94) Dr. Yvonne Scott observes, "The watercolour landscapes have a particular place in his oeuvre. These are primarily understood as personal rather than mainstream works. As he has explained: "these were always made to one side of the more problematic work which preoccupied me, so that I have tended to think of them as a diversion, the exploration of a private avenue". The landscape paintings are, nonetheless, very significant. During the late 1980s and early 1990s, le Brocquy produced a series of works addressing locations in various parts of the country, primarily Beara, Wicklow and Dublin. These are not the incidental painted sketches of a transient visitor, but considered responses to places he knows well, or whose experience has a special meaning for him ... The artist is clear about his exploration of the topography of landscape which he intentionally transforms from objective description to subjective response. This process, he explains, is not so much "creation" as "discovery" - the uncovering of the essence of a place, and its experience." 1. Scott Yvonne, Painting Ireland. Topographical Views from Glin Castle, William Laffan, ed., Curchill House Press, Tralee, 2006, p. 91-92 (£4,050-£4,860 approx)
Lot 69
Seán Keating PRHA HRA HRSA (1889-1977) PAST DEFINITE, FUTURE PERFECT, 1928 oil on canvas signed lower right; inscribed [A.M.D.G.] lower left; inscribed with title, artist`s name [John Keating], address [Killakee, Rathfarnham, Dublin, Ireland] and price [£100] on label on reverse; also with framing label of the Bregazzi & Sons [10 Merrion Row, Dublin] on reverse 25 by 30in. (63.50 by 76.20cm) Provenance: Royal Academy, London; Where purchased by the previous owner Exhibited: Royal Academy, London,1928 Well-known for his use of allegory as a method by which to reflect on political issues in Irish society, and evident in images such as An Allegory (1924) and Night`s Candles are Burnt Out (1929), Seán Keating was equally well-capable of utilising those skills to focus attention on the greater significance of the simple things in life. The older woman in Past Definite, Future Perfectis reading the cards. She holds the five of hearts and points to another card from the same suit lying on the table. Her young companion watches attentively, her hands clasped to one side so that she can see everything of the procedure. Both women are focused on the cards, but entirely absorbed in their own thoughts. At first glance, the picture presents a quiet moment between, perhaps, a mother and daughter. The only movement is in the old woman`s gnarled hands and in the swirl of light and dark tones in the background. Yet the imagery and the artist`s title suggest that this is more than a simple depiction of a fortune-telling session. The painting abounds with symbolism: old age presented as the past, beside youth as representative of the future. The manner in which the old woman concentrates on the suit of hearts suggests that she is thinking about her own past loves. The young woman, perhaps unaware that nothing is perfect, may be hoping for a definite answer about love in the future. The overarching message is that the gaiety and hope of youth leads inexorably towards the wisdom and experience of old age. Keating painted Past Definite, Future Perfect in 1928, having recently completed his series of paintings of the `Shannon Scheme` at Ardnacrusha. The association between this work and the `Shannon Scheme` might first appear incongruous; but physically and metaphorically, the project gave the artist hope for the future, and made him focus on the importance of older people in newly modernized Ireland. The theme appears to have been very much on his mind in 1928, a year in which he painted several images of old age including The Turf Buyer, Old Kitty and Good Old Stuff. Added to this, his mother Annie (née Hannan), had been suffering from an unspecified illness for a long number of years; she was nearing the end of her life in 1928. Keating credited his mother for having the foresight to send him to art school in Limerick many years previously. While this is not a portrait of Annie, it is a homage painting made in deference to women and to the wisdom of old age. Past Definite, Future Perfect was not a commission; Keating made it for public exhibition. The lettering to the bottom left of the image `AMDG` appears to represent the Jesuit motto `for the greater glory of God.` In other words, no matter what the cards supposedly say, life will be as it will be. On a more pragmatic note: the artist was in the habit of collecting disused frames; it may be that this unusual example came from a Jesuit house. Past Definite, Future Perfect was shown, along with Good Old Stuff, in the Royal Academy in London in 1928. A reviewer commented at the time on the `marvellous` portrait of the old woman which had the `conviction of a great old age.` It was purchased from the exhibition for a private collection at the time and has not been publicly exhibited since. When Keating was nearing the end of his own life he returned yet again to the themes in this work. He exhibited a watercolour with the same title, but painted in 1971, in the RHA that same year. Dr Éimear O`Connor HRHA Research Associate TRIARC-Irish Art Research Centre Trinity College Dublin April 2012 (£20,250-£28,350 approx)
Lot 102
Lady Kate Dobbin WSCI (1868-1955) FIGURES IN A BOAT IN ROUNDSTONE HARBOUR, c.1909-1914 watercolour signed lower left 15 by 18in. (38.10 by 45.72cm) Between 1909 and 1914 Lady Dobbin exhibited three works with the Watercolour Society of Ireland which were connected to Roundstone Harbour; End of the Fishing Season, Roundstone (1909, no.191), Evening in the Harbour, Roundstone (1913, no. 36) and At the Quay, Roundstone (1914, no 253). During this period her depictions of Roundstone were also shown at the RHA. It is possible that the present work was one of the exhibited pieces from this time. Lady Kate Dobbin was born in Bristol, the daughter of William Wise, a solicitor. In 1887 she married Alfred Graham Dobbin who was knighted in 1900 for his role as High Chief Sheriff of the City of Cork. Lady Dobbin studied at the Crawford Municipal School of Art between 1891 and 1895. She submitted her first picture to the RHA in 1894 and continued to show there until 1947 exhibiting a total of one hundred and five paintings. She worked mainly in watercolour, painting scenes of Cork and the surrounding countryside. (£810-£1,220 approx)
![Martin Gale RHA (b.1949) PAT`S BLUES, 1983 watercolour signed and dated [`83] lower left; with original typed Taylor Gallerie](http://lot-images.atgmedia.com/SR/10092/2862371/143-2012549478_468x382.jpg)
Lot 143
Martin Gale RHA (b.1949) PAT`S BLUES, 1983 watercolour signed and dated [`83] lower left; with original typed Taylor Galleries label on reverse 24 by 36in. (60.96 by 91.44cm) Provenance: Taylor Galleries, Dublin; de Vere`s, 21 November, 2000, lot 294; Private collection The subject of the painting was a blues singer in Dublin and friend of the artist. (£1,620-£2,430 approx)
Lot 545
Late 20th Century- Rooftops; oil on canvas, signed with monogram `JH`, 80.5x101cm: H Achman, mid-late 20th century- Landscape; watercolour, signed in pencil, 53x73cm: W S Smith, British, mid-late 20th century- "Dungeness"; oil on board, signed, 35.3x46cm: Beryl Travis, British, late 20th century- View of a gate; pastel, signed, 22x31cm: together with a juvenile painting in tempera of a figure with a cart, 46x58.5cm., (5) (may be subject to Droit de Suite)
Lot 269
* John Melville (British, 1902-1986), Swirling Landscape, signed "John Melville 1972", watercolour, 33 x 59cm (13 x 23in). John Melville, a self taught English Surrealist artist alongside his art critic brother Robert Melville and the artist Conroy Maddox, was a member of the Birmingham Surrealists up until the 1950s. Melville exhibited his work first in London at the Wertheim Gallery in 1932 and then went onto exhibit throughout the UK. His work can be found in numerous private and public art collections. Melville`s paintings often show dream-like figures or landscapes but during the 1940s he focused on painting portraits and still-life, returning to Surrealism in later works. Melville`s relative isolation led to his work being neglected somewhat, but in recent years his reputation has grown and his singular style has led to his inclusion in a number of public exhibitions - "Surrealism: Two Private Eyes" at the Guggenheim, New York in 1999 and "Surrealism in Birmingham" in 2001.
Lot 162
A contemporary oil painting on board entitled "Oak trees, Hartley Wintney" by Sally Gaywood in moulded gilt frame, another small oil on canvas depicting a river, trees and distant mountains and a small contemporary watercolour by Michael Beach of a colourful flower seller in moulded gilt frame (3)
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