We found 11510 price guide item(s) matching your search

λ&nbspDAVID JONES (BRITISH 1895-1974) THE HOLY FAMILY Watercolour Signed with initials and dated '1924' (lower right) 16.5 x 16cm (6¼ x 6¼ in.)Provenance: Gifted by the artist to Clare Pepler, a member of the Ditchling Community and thence by decent Christie's, South Kensington, 20th Century British Art Including the Olga Davenport Collection, 25 March 2009, lot 51, titled 'Mary and Joseph with Baby Jesus and the Donkey', where purchased by Robert Kime Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Very slight discolouration to the extreme edges of the visible sheet. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) SPIRIT IN AN ORCHARD Pencil, watercolour and bodycolour Signed and dated 26 (lower left) 38 x 55cm (14¾ x 21½ in.)Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer

λ&nbspDAVID JONES (BRITISH 1895-1974) NANT-Y-BWCH III Pencil and watercolour Inscribed and dated 'Nant-y-Bwch, Capel 1925' (verso) 38.9 x 27.5cm (15¼ x 10¾ in.) Provenance: Anthony d'Offay, London, where purchased by Barnabas McHenry Christie's, South Kensington, 20th Century British Art Including Works from the Collection of Bannon and Barnabas McHenry, 17 December 2008, lot 13, where purchased by Robert Kime Born on 1st March 1896 in Brockley, Kent, David Jones navigated the realms of painting, illustration, poetry, and engraving with equal brilliance. He was a true polymath, integrating his various artistic pursuits into a singular and distinctive style that defied categorisation. In 1909, at the age of fourteen, Jones entered the Camberwell School of Art, however at the outbreak of the First World War he enlisted in the London Welsh Battalion of the Royal Welch Fusiliers and spent 1915 to 1918 fighting at the front in France and seeing action at Ypres in the Battle of Passchendaele.  The horrors and traumas of war profoundly influenced his work, and themes of sacrifice, mortality, and spirituality became central to his artistic expression. His deep Catholic faith, nurtured from an early age, also played a significant role in shaping his artistic vision. In January 1921, Jones joined the Ditchling Guild of St Joseph and St Dominic, founded in 1919 by Hilary Pepler and Eric Gill as a religious fraternity for craftsmen. It was here that he learnt wood engraving and during the winter of 1924 he spent Christmas with Gill at the monastery at Capel-y-ffin, Abergavenny. Rediscovering his Welsh roots, Jones spent most of the next three years painting the rugged landscape of the Black Mountains. Dr Paul Hills comments on his work of this period: "The move from the relaxed, ample curves of the Sussex Downs...to the irregular inflexions of the Welsh hills and coast, effected a release from the borrowed idiom in which he had been working. In an autobiographical talk he told how he discovered, between 1924 and 1926, a fruitful direction for his work, particularly under `the impact of the strong hill-rhythms and the bright counter-rhythms of the "afonydd dyfroedd" (water-brooks)'. (Exhibition catalogue, David Jones, Tate Gallery, London, 1981, p.24)  As a painter, Jones excelled in capturing the essence of landscapes, often infusing them with a sense of mystical beauty and symbolism. His works exhibited a meticulous attention to detail and a mastery of techniques, blending elements of traditionalism with modernist influences. Whether depicting natural scenes, religious imagery, or historical events, his paintings possessed an ethereal quality that is as relevant and contemporary today as it was when painted. Condition Report: Unexamined out of glazed frame. Hinged to the top left and right corners. Slight undulation to the sheet. Very light staining to the upper corners possible caused by glue residue from the mounting process. Small crease to the lower left corner. Appears to be in generally good original condition. Condition Report Disclaimer

ARR Neil Cox (b.1950) Group of Pheasants in a Snowy Woodland Landscape, signed lower left, watercolour, 41 x 71 cm, frame 70 x 100 cmProvenance: Christies 27/11/2003 Lot 216, purchased at Golding Young and Mawer 21/08/2021. Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in generally good condition- no obvious losses or deterioration. The paint appears well preserved, colours are good, no obvious paint loss or deterioration. The frame has solid joints, general wear and tear

UNATTRIBUTED; watercolour, a circular painting depicting the boy Samuel 'Speak Lord, For Your Servant is Listening', diameter 14.5cm, framed and glazed.Condition Report: - Frame 41 x 34.5cm.

A Chinese watercolour scroll painting, depicting blossom trees with text inscription, panel 128cm x 62cm

Watercolour study of figures and cattle in woodland, indistinctly signed, and K Curtis, painting, flooded landscape, framed, 49cm x 65cm

E. C. Simper - a mid 20th Century 1950s watercolour on paper painting. The painting depicting a harbourside scene with fishing boat and thatched cottages. Framed and glazed. Measures approx. 30cm x 24cm, 38cm x 33cm to include frame.

Of Bath Local Interest - Two Victorian 19th Century signed etching on paper by local artist E. Sharland. Both depicting different views of Bath cathedral. Framed & glazed. Together with an E. Sharland watercolour on paper painting depicting a harbour scene with boat in foreground. Largest measuring approx. 68cm x 83cm.

Framed watercolour painting signed W A Winder

19th century watercolour architectural study, Tintern Abbey, label to verso “Written on reverse of painting - 11th July 1844, Tintern Abbey towards the east.”. Framed. 24.5x34cm

Framed and glazed mixed media mother of pearl, watercolour and reverse painting on glass, 44 x 59cms. Estimate £20-40.

Peter Cushing (1913-1994) - Watercolour - 'View of the Golf Links, Whitstable from my studio window (before housing development hid it)', circa 1960, initialled to lower left with signature, title and dedication to Joyce and Bernard to back of frame, 14.25ins x 10.75ins Note: This painting appears in 'The Peter Cushing Scrapbook', page 298

Peter Cushing (1913-1994) - Watercolour - Still life, fruit in blue and white bowl, unsigned but with dedication to back of frame "An impression in watercolour of an oil painting by Grimal. To dear Joyce and Bernard. A little 'thank you' for taking me to Ireland on your holiday. May God's blessing be with you always. Our love as ever, Helen and Peter xx 21.ix.86", 10.75ins x 8.75ins, in ornate gilt moulded frame and glazed

Peter Cushing (1913-1994) - Watercolour - 'Dr Syn', unsigned, 6ins x 9.25ins, in silver gilt swept frame and glazed, and pencil sketch of coastal scene with buildings to middle ground, unsigned, 6.5ins x 4.25ins, framed and glazed (2) Note: 'Dr Syn' painting appears in 'The Peter Cushing Scrapbook' page 304

An Arthur Clarke Watercolour "Evening at Broadway", 11 1/2" x 8 1/2" (20" x 17" incl. gilt frame). N.B. PLEASE NOTE - ALTHOUGH NOT REMOVED FROM THE FRAME TO CONFIRM, THIS APPEARS TO BE A PRINT (NOT A WATERCOLOUR) AFTER A PAINTING BY ARTHUR TUCKER - NOT CLARKE.

Watercolour on PaperChina , 20th century Dimensions: 52,5 cm x 37,5 cm Painting of two dogs, one black and one white with black ears wearing a leather collar. Both are lying on patches of grass close to a lake or sea, two birds hovering in the sky. Chinese writing with red seal stamp in the right top corner.

Watercolour on paperChina , 20th century Dimensions: 174 cm x 68 cm Zhang da qian is famous for his green landscape painting, this is one of his works.In this painting, a scholar sitting on a stone and watching in the wind, with his pants rolled up. Sitting figure, stone, mountain, water, bridge, every detail shows the painter’s skilled painting.

A CHINESE FAN PAINTING, AFTER XU GU (1824 - 96). Watercolour of squirrel. Signed lower left with two red seals. Fan 50cm wide. Mounted on card.Good overall condition.

20TH CENTURY PAINTING OF THREE INDIAN MEN, gouache, watercolour and pen on paper, signed 'Joon' dated 1988 and titled 'Rajasthan, India' below, 26.5 x 37 cm, mounted, framed and glazed

A CHINESE FAN PAINTING, AFTER FU BAOSHI (1904-65). Watercolour scene of two scholars in a landscape scene. Signed and dated 1963 with red seal. Fan 50cm wide. Mounted on paper. Good overall condition.

SET OF FOUR CHINESE RICE PAPER PAINTINGS, 19TH CENTURY, depicting different figurative scenes: hunting birds; eating watermelon; scholars examining a scroll painting and street merchants, watercolour on rice paper, 18 x 30 cm each, three glazed and framed, with glass missing (4)

Original Artwork for Cedric Chivers Binding.Smyth (Dorothy Carleton), ‘Jane Eyre, A tall steed, & on its back a rider - page 186’.Watercolour and gouache on paper, illustration 127mm x 76mm, sheet 213mm x 140mm, pencil title and author’s name in pencil with note ‘for vellucent binding by Cedric Chivers of Bath’. If used, the painting would have been attached to the binding and covered with translucent vellum.

[Tylor, nee Harris (Isabella)].In the Days of Old. A Quaker Child, by ‘Granny’.An illustrated typescript account of the author’s childhood, written for her Grandchildren in the hope that ‘when they read them, they will think with love of their old Grandmother’.Kensington, 1893, [4], 65, [2] pages, interleaved with fourteen original watercolour plates (by Mr Meadon of Brighton and Miss Horton of Chelsea et al.), a 19th century birth certificate and four mounted photographs. Several family inscriptions. As a child, Isabella lived in a village near London - Stoke Newington. ‘The name meant ‘The Village in the Wood’. It was then quite amongst the fields, with one long irregular street out to the main road to the North.’ …. ‘We had a nice old-fashioned house covered with Virginian Creeper, and behind there was a delightful garden with a lawn full of old trees’. In later life, Isabella moved to Sussex, one of the pictures depicting ‘Granny in her hall at Middle House, Mayfield’ (now a restaurant). A painting in the same style, found online, shows Isabella sitting in Middle House and describes her as ‘the original owner’. She had moved to Kensington when the book was produced. All edges gilt, full morocco binding with gilt tooling (some rubbing).

Guy Colwell, 'Life Model', watercolour painting, signed & dated 1983, framed, 32cm x 27cm

Guy Colwell, 'Painting her Face', watercolour, signed, dated 1984, framed, 34cm x 30cm

Jago Stone "The Old School at Dorsington, Warwickshire", watercolour painting, signed and dated 1985, 25cm x 36cm, framed

Cyril David Johnston (b.1946) "Lanner, study for painting", a majestic, highly detailed depiction of a falcon perched atop a grassy mound with desert and mountains beyond, watercolour, signed and dated 1921, in double card mount and gilt frame under glass, 40 cm x 50 cm overall [Johnston is known for his wildlife and bird paintings and has exhibited at Gallery Heinzel in Aberdeen.]

Arthur Savile Davis (South Africa, 1891-1975) - A mid 20th century South African original watercolour on paper by artist Arthur Savile Davis. The painting depicting a mountainous landscape. Signed bottom right. Framed & glazed. Measures approx. 36cm x 56cm, 57cm x 77cm to include frame.

An assorted lot including a watercolour of a mouse on a bookshelf signed Mike Ash, 2007, a wooden jewellery box, a pair of vintage Tecnar 16 x 50 binoculars, an oil on canvas painting of a lakeside scene in a gilt frame, with illegible signature etc

China - Vietnam - - Sammlung von vier Original-Zeichnungen mit Darstellungen aus China und Vietnam. Um 1860. Je Aquarelle auf Papier, auf Karton kaschiert. Maße je 17,5 x 25 cm. Je monogrammiert "G de M". Die vorliegenden Zeichnungen scheinen in der Zeit des Chinafeldzugs (1860) und der Eroberung von Cochinchina durch Frankreich (1862) entstanden zu sein. Enthalten sind folgende Motive: Chefoo (Zhifu), Golf von Petchili. Zu sehen sind etwa 30 westliche Schiffe, die in der Reede von Zhifu vor Anker liegen. Diese Szene könnte der Ankunft der französischen Truppen unter General Cousin-Montauban in Zhifu am 6. Juni 1860 entsprechen, während der französisch-englischen Expedition nach China, die im Oktober mit der Plünderung des Sommerpalastes und der Eroberung Pekings endete. - Chinesische Boote vor einer Hafenanlage. - Landungsplatz in Saigon (Cochinchina). Stellt eine Landungsstelle dar, die von mehreren kleinen Booten und verschiedenen Gebäuden umgeben ist. Die französische Flagge ist zwei Mal zu sehen. - Fischerdorf mit Personen und Booten. Darunter ein westliches Schiff. Im Hintergrund ist ein Tempel oder eine Kirche zu sehen. - Der Urheber war wahrscheinlich ein Seemann oder Reisender, der sich in den frühen 1860er Jahren im Fernen Osten aufhielt. Einige Details wurden besonders sorgfältig dargestellt, so z.B. die Schornsteine auf den ersten vier Schiffen des Zhifu-Bildes zwischen dem Fockmast und dem Großmast, die zeigen, dass es sich um dampfbetriebene Schiffe handelt. - Papierbedingt etwas gebräunt. 1 Bl. etwas fleckig. Insgesamt gut erhalten. China - Vietnam - Collection of four original drawings depicting China and Vietnam. Around 1860, each watercolour on paper, mounted on cardboard. Each monogrammed "G de M". - The present drawings seem to have been made during the China campaign (1860) and the conquest of Cochinchina by France (1862). They contain the following motifs: Chefoo (Zhifu), Gulf of Petchili. About 30 western ships are seen anchored in the roadstead of Zhifu. This scene may correspond to the arrival of French troops under General Cousin-Montauban in Zhifu on 6 June 1860, during the Franco-English expedition to China that ended in October with the sacking of the Summer Palace and the conquest of Beijing. - Chinese boats in front of a hafen. - Landing site in Saigon (Cochinchina). Depicts a landing site surrounded by several small boats and various buildings. The French flag can be seen twice. - Fishing village with people and boats. Among them a western ship. A temple or church can be seen in the background. - The author was probably a sailor or traveller who was in the Far East in the early 1860s. Some details were particularly carefully depicted, e.g. the funnels on the first four ships of the Zhifu painting between the foremast and the mainmast, showing that they were steam-powered ships. - Paper somewhat browned. 1 leaf somewhat stained. Overall well preserved.

Japan - - Ansicht mit dörflicher Szene vor einem Gebirge. Aquarell auf chamoisfarbenem dickeren Papier. Format ca. 36,5 x 60,5 cm. Am oberen Blattrand unter Passepartout montiert. Vertikale Knickspur, verso u. an den Blattkanten recto mit Spuren alter Montierung, einige kl. hinterlegte Einrisse im Rand, Ecken angeknickt, Darstellung im oberen Bereich mit Feuchtigkeitsflecken, stellenw. gering stockfleckig, verso wenige kurze Bleistiftmarginalien. - Dabei: Aquarellierte Zeichnung eines Damenportraits. Format ca. 22 x 16,5 cm. Am ob. Blattrand unter Passepartout mont. - Verso mit hs. Besitzv- und Kaufvermerk tls. in Russisch (gekauft von Gertrud Hirsch 1956 (im Auktionshaus Stuker Bern)). - Einige kl. Stockflecken. View with a village scene in front of a mountain range. Watercolour painting on chamois-coloured thicker paper. Mounted under passepartout at the upper margin. Vertical crease, edges of the sheet recto and on verso with traces of old mounting, some small backed tears in the margin, corners creased, image in the upper area with moisture stains, in places slightly foxed, verso a few short pencil marginalia. - In add.: Watercolour drawing of a portrait of a lady. - Verso with ownership and purchase note partly in Russian (bought by Gertrud Hirsch 1956 (at the auction house Stuker Bern)). - Some small foxing spots.

Jonathan Walker (British 1966-) "Hot Milk before Bed" Signed and titled, watercolour and ink.12.5 x 11.5cm (framed 30.5 x 29cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are some tiny spots of foxing in the lower left-hand corner of the paper. The painting is ornately framed and glazed. There is some minor spotting across the mount.

Jonathan Walker (British 1966-) "The Beak" Signed, dated '97 and titled, watercolour and ink.7.5 x 8cm (framed 23.5 x 23cm)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 framed and glazed.

Jonathan Walker (British 1966-) "Gossip" Signed, dated '97 and titled, watercolour and ink.31 x 24cm (framed 49 x 41.5cm)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 framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Jonathan Walker (British 1966-) "The Chisel-Beak" Signed and titled, watercolour and ink.24 x 17.5cm (framed 40.5 x 34cm)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 framed and glazed.

Mary Fox (British 1922-2005) "Southend on Sea II" Signed, titled on artist's label verso, watercolour.21.5 x 15.5cm (framed 35.5 x 29.5cm)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.

Lindsay S. Clark (British 20th century) "The Crooked Tree near Balquhidder" Signed, titled on artist's label verso, watercolour.26.5 x 35.5cm (framed 45.5 x 53cm)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 framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Jonathan Walker (British 1966-) "Red on his Testimonial" Signed, dated '97 and titled, watercolour and ink.10 x 12cm (framed 26 x 27.5cm)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 framed and glazed.

Property of a Lady. Attributed to Edward Lear (1812 - 1888) A Bridge over the Indus Watercolour on paper. Lear toured India on numerous occasions, and in 1873-1875 travelled from Bombay, up to Cawnpore and Lucknow, to Benaras, Calcutta and Darjeeling, to Simla and Kasauli, to Golconda, Coonoor and Ceylon. Lear documented his travels extensively, writing in his journal and painting the landscapes he encountered at each stop on his journey. Dimensions (Paper) 21 in. (H) x 53 in. (W) (Frame) 23.5 in. (H) x 55.5 in. (W)

Property of a Gentleman. Henryk Ippolitovich Siemiradzki (1843 - 1902), Hard Choice (1871). Watercolour on paper. Signed and dated, lower right 'Roma 1874 H. Siemiradzki'. Provenance: Anonymous sale, Bolland & Marotz Bremen, March 21 1998, lot 835. Private collection, Europe. Siemiradzki was born in Novo-Belgorod, Russian Empire, modern Ukraine. This is a watercolour version of one of the first masterpieces by Siemiradzki, for which he received the Grand prix d'honneur (the Grand Gold Prize) at the International Exhibition of Art in Paris in 1878. The final version of the painting was held in the Museum August Kestner's collection in Hannover. Unfortunately, after the Second World War, the painting has disappeared. Most of his works are held in museums of Poland, Ukraine, Russia and private collections. Dimensions: (Paper) 14.75 in. (H) x 20.25 in. (W), (Frame) 25.25 in. (H) x 30.75 in. (W)

John L. Evans (British 20th century) "From Hartshill Bank towards Etruria" Signed and titled, watercolour and ink.36 x 46cm (framed 58.5 x 68cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There are some minor creases and other surface marks across the paper together with one or two minor spots of foxing. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Ghislaine Howard (British 1953-) Rural view with rocky outcrops Signed and dated 2005, watercolour.17 x 23.5cm (framed 30 x 36cm)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 framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Sue Atkinson (British 1949-2021) "Winter Walkers" Signed, titled on artist's label verso, watercolour and gouache.22 x 28.5cm (framed 49.5 x 54.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There are some areas of minor craquelure across the painting. The painting is ornately framed and glazed.

William Turner F.R.S.A., R.Cam.A. (British 1920-2013) "Fleetwood, Knott End" Signed and dated '97, titled on verso, watercolour.16 x 9cm (framed 31.5 x 24.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. There are several stains across the paper. The sheet has dropped slightly below the mount. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Eric Tucker (British 1932-2018) Northern street scene with figures and dogs Signed, watercolour and pencil.27.5 x 35cm (framed 42 x 49.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There are two small stains to the paper near the lower centre edge of the sheet. There is some minor browning across the mountboard. The painting is framed and glazed. The original metal frame has some minor scratches and knocks commensurate with age.

Eric Tucker (British 1932-2018) "Cross Keys, Knutsford" Signed, titled on verso, watercolour and pencil.25.5 x 34.5cm (framed 39.5 x 47.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Harold Riley (British 1934-2023) "Sir Winston Churchill" Signed, titled and dated 1955, watercolour and ink.21 x 16.5cm (framed 37.5 x 31cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition. There is a minor crease to the paper in the upper right-hand corner. The painting is ornately framed and glazed.

Jim Mitchell (British 20th/21st century) "A Potteries Street Scene circa 1950's No. 9" Signed, titled on label verso, watercolour.15 x 23cm (framed 36 x 43.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Bernard McDonald (British 1944-) "Eastgate Street, Chester" Signed, watercolour.34 x 54cm (framed 60 x 78cm)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 framed and glazed. There is some discolouration and time staining across the mount. The frame has some minor scuffs and knocks commensurate with age.

Brian Nolan (British 1931-2019) A Northern Mill scene Signed, watercolour and charcoal.19.5 x 14cm (framed 46 x 38cm)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 framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Eddie Scott Jones (British 1922-) "Peveril" Signed, titled on artist's label verso, watercolour.36.5 x 53.5cm (framed 61.5 x 76.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition. The paper has discoloured slightly in areas across the sheet and there are some minor spots of foxing. The painting is framed and glazed. There are some spots of foxing and mould across the mount. The original frame has some minor scuffs and knocks commensurate with age.

Harold Riley (British 1934-2023) "Bridge off Oldham Road, Manchester" Signed, titled and dated 1959, watercolour, pastel and charcoal.15 x 11.5cm (framed 42.5 x 38cm)Bought directly from the artist.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 framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Geoffrey Key (British 1941-) "Demolition, Eccles" Signed, titled and dated 1.1.70, watercolour.16.5 x 11cm (framed 43.5 x 32.5cm)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 framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

John Thompson (British 1924-2011) "Five Arches, Pleasington" Signed, titled on exhibition label - 'Blackburn Artists' Society' verso, watercolour.24 x 30.5cm (framed 38.5 x 43.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition with strong colours. The paper has browned slightly in areas across the sheet. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Sue Atkinson (British 1949-2021) "The Apple Tree" Signed, titled on artist's label verso, watercolour and gouache.27.5 x 25.5cm (framed 45.5 x 43cm)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 framed and glazed.

Ivan Taylor (British 1946-) "Longton Skyline circa 1959" Signed, titled on artist's label verso, watercolour.27 x 74cm (framed 48.5 x 96cm)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 framed and glazed.

* DANNY FERGUSON RSW RGI (SCOTTISH 1925 - 1993), TENEMENT CLEARANCE, ANDERSTON charcoal on paper, signedmounted, framed and under glassimage size 34cm x 50cm, overall size 60cm x 74cm Note: Danny Ferguson was educated at Airdrie Academy from 1936-1942. He was an athletic youngster, playing football for (amongst others) Baillieston Juniors, Bedlay Juniors, Douglas Water Thistle and Blantyre Victoria (taking over the centre-half position from Jock Stein). Later in life, he was a keen snooker player, frequently championing the Glasgow Art Club, and enjoyed Curling. He began studying at GSA in 1941 but his studies were interrupted when he was called up. He joined the Royal Air Force in 1943 and served in the Far East. He re-joined GSA in 1947 and was awarded his diploma in Drawing and Painting in 1949. That same year he won a £30 prize at the Royal Scottish Academy annual competitions. From 1949-1950 he attended the Jordanhill Teacher Training College. He later combined a position as visiting lecturer at GSA with teaching in various Glasgow Schools. He returned to GSA as a full-time lecturer in 1968. In 1958 Ferguson married Margaret Dunn, also a graduate of the Glasgow School of Art, in Embroidery and Weaving. They had two children, Anne and David. Probably best known for his landscapes, still lifes and self-portraits. He exhibited regularly, had numerous one-man shows, and his work still hangs in many collections, including the Royal Collection. Danny Ferguson was elected a member of the RSW in 1969, having exhibited there from 1961. He had over 88 works exhibited at the Royal Glasgow Institute, from 1957. He was a member of the Royal Scottish Society of Painters in Watercolour. Ferguson also served as honorary secretary of the RGI for nine years and was also elected President of the Glasgow Art Club.

* JEAN B MARTIN RSW (SCOTTISH b. 1947), PORTRAIT OF A YOUNG GIRL pastel on paper, signed, titled label versomounted, framed and under glass image size 63cm x 43cm, overall size 88cm x 68cm Handwritten artist's label verso.Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.

* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950), STILL LIFE WITH OWL mixed media on paper, signed, titled label versomounted, framed and under glass image size 22cm x 27cm, overall size 48cm x 52cm Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.