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JOHN MILLER RSA PRSW (Scottish 1911 - 1975) A Winters day, Rhu oil on canvas, signed and inscribed verso, dated 1970 38cm x 59cm (15 x 23 inches) Note : Born Glasgow. Studied at the GSA under W. O. Hutchison and at Hospitalfield under James Cowie. Joined the staff of the GSA in 1944 and remained until his death. He visited France and was heavily influenced by French painting and the French landscape. He painted landscapes and coastal scenes on the west coast using forceful drawing and deep colours, He was also known for his glowing flower pieces. Elected President of the Royal Scottish Society of Painters in Watercolour in 1970, succeeding Sir William G Gillies.

ALFRED PIZZEY NEWTON RWS (1830-1883) `The Unveiling of the Mountain` signed and dated `A.P. Newton 1877` (lower right) and inscribed on the artist`s label on the reverse watercolour 24 x 32in (60.9 x 81.4cm) Pizzey specialised in the depiction of mountain scenery. He worked in the Highlands of Scotland and obtained the patronage of Queen Victoria when he was painting near Inverlochy Castle. Ruskin was an admirer of his work.- on seeing his ` View in Argyllshire ` (OWS 1858), he wrote " Let Mr Newton but draw all the four sides of Ben Nevis as has done this one, and nobody need ever go to the mountain again for the mere sake of seeing what it is like"

André Derain 1880-1954- Calais Pier; after JMW Turner RA 1775-1851, watercolour in monochrome, with André Derain Atelier stamp, recto/verso, annotated A1 in ink, 13.6x21.4cm, Note: Around 1910 Derain`s work began reflecting his study of the old masters his use of colour was reduced and forms became austere; the years 1911-1914 are sometimes referred to as his gothis period. presumably this sketch made by Derian, a rapid sketch in monochrome displaying Turners masterly control of atmospheric effects, dramatic composition and light. The packet boat arriving at Calais, full of passengers. The heavy swell and storm clouds dominating the scene. The sun breaks through to eliminate the sail. A shaft of light from the sun down to the sea forms the centre of the composition. Turner`s picture is based on a real-life event. In 1802 he took his first trip abroad via Calais. On a sketch for this picture he noted that the seas had been so rough he was `nearly swampt`. Turners own sketches of the scene on blue/grey paper and held at the Tate Britian. See: Calais Pier Sketchbook [Finberg LXXXI] (D04902-D05072; complete) The painting was exhibited at the Royal Academy in 1803, (unframed) (LP)

Two Reeves Watercolour Paint Finger Palettes; together with Tom Kitten’s Painting Book and My Little Grey Rabbit Painting Book; and a small Copper Stencil Set (5)

James Lloyd (1905-1974) THREE FISHES signed and dated `58 watercolour 25 x 35.5cms; 9 7/8 x 13 7/8in.; sold together with a letter from the Artist to Dr. Jane Sherman, dated November 16th 1971, in which he mentions this painting. See illustration

A signed etching of children playing on a round-a-bout, signed Soper, various prints of the Lake District, Salisbury etc, a pencil sketch painted by Aldersley, a Moorland Scene oil on canvas initialled C H, a watercolour signed M Reddoch Smith of Alfriston in Sussex, various photographic prints, a lithograph titled Maiden`s Prayer, a photograph of Manchester Dental School "Final Student`s Year - 1920-21", a school photograph, an oil painting signed by Sarah Greenhaulsh of the East Cornwall Society of artists etc

A quantity of pictures and prints to include works by R L Howey of Runswick Bay, a watercolour of a station signed W, an oil painting by J Young of Devon,an oil of a coastal scene signed H G Dawes, various prints and an oil signed Hoi Waing

Acrylic painting Near Granada" by Roy Perry (Gold medalist at Royal Watercolour Society)"

Disney - An original ink, watercolour and bodycolour illustration, showing Mickey Mouse painting Donald Duck painting Goofy painting a fence, painted directly to artists board, the mount marked `Verbs - Pages 16 & 17`, overall 44cm x 60cm. Note: Produced to illustrate a book.

Edwin viner chipping campden watercolour signed unframed; another victorian watercolour signed unframed; another victorian watercolour and an unframed painting, lake landscape

Original watercolour Painting by well known artist and illustrator Vic Welch of an LNWR double-headed express departing Conway through the castle archway. Image size 17½" x 12¼", glazed frame size 24" x 18¼".

C19th Watercolour by Frederick Tully Lott showing scene of river with cart & horses on bridge, artist painting on banks with Windsor Castle to the distance approx. 19" x 8"

10 STUDIO PUBLICATIONS , MODERN ETCHINGS, MEZZOTINTS AND DRY POINTS (1913 HB) ANOTHER COPY (1913 PB) LETTERING OF TODAY (1937) LANDSCAPE PAINTING IN WATER COLOURS BY DAVID COX (1922 PB) THE NORWICH SCHOOL (1920 PB) THE ETCHINGS OF CHARLES MERYON (1921 HB) THOMAS ROWLANDSON (1929 HB) PETER DE WINT (1929 HB) DRAWINGS IN PEN AND PENCIL (1922 PB) EARLY ENGLISH WATERCOLOUR DRAWING (1919 PB)

David Thomas Robertson `Sheep grazing in a wooded landscape`, watercolour, signed, 54cm x 42cm, also an oil painting by another hand (2)

A late 19th Century watercolour on ivory painting of a seated lady accompanied by three children singing and playing musical instruments within a garden, within a gilt metal frame.

Sir Stanley Spencer RA (1891-1959) Study for painting, Pencil and watercolour on paper, 17.5 x 46 cm (7 x 18 in) Provenance: The artist’s estate, Anthony d’Offay Gallery, London, Piccadilly Gallery, London. This drawing may possibly relate to Design for a Decoration: Fernlea and the Milkcart, 1921

Alfred Wallis: (in the style of) a framed and glazed mixed media and watercolour painting on card: Two Masted Schooner with lighthouse in distance (modern frame).

A 19TH CENTURY REVERSE GLASS PAINTING of summer flowers in a vase with a nest of birds eggs beneath, 16" x 12 1/4", together with two 19th Century floral still lifes and a 19th Century montage picture in feathers and watercolour of two birds to include a Thrush perched on a branch, 12 1/4" x 14 1/4" (4).

A CHINESE SCHOOL ANCESTOR PORTRAIT of an elderly woman seated on a throne, watercolour, 31 1/2" x 15", together with further oriental watercolour painting of figures within a landscape, 24" x 40", and a Chinese embroidered picture of a man dancing holding a gourd tied to a crutch held above his head, 23" high x 12" wide (3).

* Woodcock (Keith). Lanc Successors - Avro Shackletons, c. 1995, orig. watercolour and gouache painting, signed lower right, 33 x 61cm, framed and glazed, orig. artist labels and exhibition label for the Guild of Aviation Artists 1995 Exhibition to verso (1)

William Gershom Collingwood (1854-1932) "Top of the Moor, Misty Evening, Coniston Old Man" Signed and dated 1912, watercolour, 25cm by 35.5cm William Gershom Collingwood MA, FSA. Educated at Liverpool College and University College, Oxford, and met Ruskin in 1872. He studied painting at the Slade School under Legros, and set up a studio in London. Known as WG. He was late president Cumberland & Westmorland Antiquarian Society, and late President Lake Artists Society. Married Edith Mary in 1883 (she died 1928). His address was Lane Head, Coniston, Lancashire.

19TH CENTURY SCHOOL - Middle Eastern scene with figures in a dhow, watercolour, 9 1/2" x 13 1/2"; and four further works to include Duncan McCann - A country landscape, signed, pen and grey washes, 9 1/2" x 14"; Norman Donnelly - Figure on a pathway at sunset, watercolour, 11 3/4" x 10"; an oil painting of a castle; and figures on a beach (5).

Four indistinctly signed in pencil, unframed aquatints on paper, Continental Town scenes. (4) 12" x 15" (average) , JEX BLAKE. Signed watercolour on paper, landscape with cottages, Y. DELVO. Signed oil painting on board, woodland clearing, GORDON FORGETTER. Nine signed in pencil prints together with prints or posters by NORMAN STEVENS and other artists and SALOMON VAN ABBE. Unframed, signed pen/ink and body colour on paper, illustration, a medieval town scene with prior and figures, see verso.

Paul Scheidecker; watercolour "Island In Brittany", signed, 23 x 32cm, framed and glazed. This lot is accompanied by a letter from the artist dated 11th January 1919 stating that the painting was offered as a present to Mr Barnes of Manchester.

Chinese School (19th century) Erotic frieze with figures in a garden Watercolour on silk, 14cm x 115cm and a scroll painting of erotic panels, watercolour on silk (2)

An Indian watercolour and ink erotic painting with nashki script, 20cm high x 12cm wide

"WATERCOLOUR PAINTING IN BRITAIN" by Martin Hardie, volume I "18th Century", volume II "Romantic Period" and volume III "The Victorian Period", B.T. Batsford Ltd., London, 2 volumes all with dust wrappers

An oil on painting on board, Francois, haystack, signed 14 x 21" and a watercolour, street scene and a pair of Edwardian prints

A print after Arthur Terry Blamires `Buttermere` signed 11 x 15" and oil painting, church, a watercolour farmyard in snow and a print, winter scene

Alfred Wilson Cox (Circa 1820-1888). A 19th Century Watercolour Painting depicting a shepherd driving his flock down a country lane past thatched cottages with figures stood in doorway. Signed Alfred Cox & dated 1873, 11¾ ins x 18 ins (30 cms x 46 cms) in a later moulded and moulded gilt frame 18¾ ins x 24½ ins (47.5 cms x 62 cms).

A watercolour painting of a mythical beast, the lion bodied creature with a man`s face standing four square on a background of flowerheads and stylised lotus, image 74 by 54cm., framed and glazed

Adolf Hitler ‘Das Siegestor’ – View of the Arch with figures in foreground signed ‘A.H. 1914’ to bottom right hand corner of the image pen and ink and watercolour approx 13 1/2 x19 1/2cm framed and glazed. Provenance: Lot 870 in Phillips Sale at Blenstock House ‘Memorabilia from the Two World Wars’ June 6th 1985 accompanied by photocopy of a letter from Dr Karl Exner of Munich Art Historian and nephew of the artist Willie Exner known for his celebrated portrait of Hitler. The letter states that the painting was considered original by Prof Wilkinghoff from Hitler’s Munich period of 1913-14

JOHN MAXWELL RSA (Scottish 1905-1962) Male Figure Pen and watercolour, signed 43cm x 30cm Note : Born in Dalbeattie in Kirkcudbrightshire, Maxwell studied at Edinburgh College of Art from 1921 to 1927 and then, with the aid of a travelling scholarship, from 1927 to 1928 at the Académie Moderne in Paris under Léger and Ozenfant. He also travelled to Italy and Spain during this period, where he discovered the work of Chagall and the Symbolists. These experiences influenced his work for the remainder of his career. Maxwell was a lifelong friend of William Gillies with whom he frequently travelled on painting trips. Along with Gillies, he was one of the group of artists who became known as The Edinburgh School. Maxwell taught intermittently at Edinburgh College of Art from 1928 to 1933, 1935 to 1946, and 1955 to 1961. He first exhibited at the Royal Scottish Academy in 1935 and became a full member in 1949.

KEITH VAUGHAN CBE (British 1912-1977) Two Figures gouache and watercolour, signed 24cm x 18cm Note : Painter of figures and landscapes in oils and gouache. Born in Sussex, he was self-taught as an artist and from 1931 to 1938 worked for the advertising agency Lintas, painting in his spare time. During the war his work was bought by WAAC and he met, and was influenced by, Sutherland, as well as Minton, Craxton and Colquhoun. In 1946 he shared a house with Minton who introduced him to Duncan Macdonald at the Lefevre Gallery and to William Johnstone. He travelled extensively throughout his life. His first solo exhibition was at the Reid and Lefevre Gallery in 1944, where he continued to exhibit until 1952, thereafter showing at leading London galleries, in the provinces and abroad. Retrospective exhibitions include those at the Whitechapel in 1962, and the University of York in 1970. He was represented in many group exhibitions and is in many public collections including the Tate Gallery. He taught at Camberwell 1946-8, the Central School., 1948-1957, and the Slade School from 1959. In 1959 he was Resident Painter, State University of Iowa. He served on the Arts Council Advisory Panel, became an Honorary Fellow of the RAC in 1964, and CBE in 1965. Commission include murals for the Festival of Britain, 1951, and a series of lithographs for Une Saison en Enfer. The main subject of his work was the male nude in landscape. Early influences were those of Cezanne and the English neo-romantics. Later work achieved an integration of figurative subject and liberated colour and form, reflecting his admiration for de Stael and Matisse.

J B Allen - A day on the beach, pen, ink and watercolour, 6 1/4" x 6", signed, together with Gill Watkiss - Cricket match, acrylic on board, 8 3/4" x 10 3/4", a Venecian print, a painting of a seascape by K M Hepburn and Deal High Street by Allan Boulter, oil on board (5).

EARLY 20TH CENTURY ENGLISH SCHOOL, WATERCOLOUR, Inscribed on backing “Study of an Egyptian Wall Painting in The Tomb of Ramesses III, showing Musicians”, in original gilt tabernacle frame, 10” x 10”

LUCIEN PISSARRO (French, 1863-1944) `Cold Harbour - self sewn pines`, 1916, monogrammed, titled and dated lower left, crayon and watercolour, 5" x 8 1/2", New English Art Club label verso Exhibited: New English Art Club, Winter 1916, No. 5 This picture matches in title and view with an oil painting in Anne Thorold`s catalogue of Pissarro oil paintings, which was shown as being exhibited in the NEAC exhibition as No. 33.

Nicholson (Francis). The Practice of Drawing and Painting Landscape From Nature, 1st ed., 1820, five engraved and aquatinted plates, including one folding hand-coloured, bookplate, original boards, spine worn, some stains, 4to. The artist Sir Francis Nicholson (14 November 1753 - 6 March 1844) was born in Pickering, North Yorkshire. He worked in watercolour and oil, and is mainly known as a landscape artist. He studied with a local artist in Scarborough, before beginning his career in his native Pickering, producing sporting pictures and portraits for a variety of Yorkshire patrons. By the mid-1780s he was also making paintings of country houses, leading him to concentrate on landscapes in watercolour. From 1789, he contributed views of both Yorkshire and Scotland to exhibitions at the Royal Academy. He also supplied topographical views for the Copper Plate Magazine. Although his market increasingly became London-based, Nicholson continued to live in Yorkshire - at Whitby, Knaresborough and Ripon. He did not move to London until about 1803. In 1804, he became a founder-member of the Society of Painters in Watercolours, and was a regular and prolific contributor to its exhibitions. Nicholson died in London and is buried there in Brompton Cemetery.. Abbey, Life, 162 (1)

H Bowles, `Nest of Pengduline Titmouse` monochrome, watercolour, signed, dated 1903, entitled and a companion painting `A Nest of Baltimore Birds`.

P.A Hay - R.S.W, Coastal landscape, watercolour, signed and dated `94, label to verso, an exhibited painting.

A Portrait of a Young Girl by Margaret Ware, pastel. An abstract watercolour by Gordon Luscombe and a small oil painting of stylised sailing ships.

FURNITURE - A PAIR OF VICTORIAN MAHOGANY AND ROSEWOOD POLE FIRE SCREENS, each having a small scallop carved panel set with a watercolour painting, mounted on a rod with triform base and bun feet, 1.4m high

19th Century Chinese School/Butterflies/painting on rice paper, 28cm x 20cm (22" x 8") two further rice paper paintings and a watercolour

Stewart (Charles W.) 2 Greek Costume Studies the Thracian Sarakatsani, from the Museum of Folk Art at Thessaloniki, and Saint Demetrios from a wall painting in the church of Aghioi Anargyroi, Kastoria in Macedonia, both watercolour over pencil, each c.275 x 200mm., both signed and dated, and extensively annotated on recto, titled, designed and dated on backboards, framed and glazed, 1975(2) ***Charles W. Stewart (1915-2001), was first a ballet dancer, then costume and stage designer, before also becoming a book illustrator. He had a particular interest in historical costumes of all styles. Long before he died he had already passed his collection of over 2,000 costumes, and the family estate at Shambellie, to the Royal Scottish Museum, where it opened in the early 1980s as the Shambellie Museum of Costume.

Wain (Louis) Fox-Hounds original watercolour painting of a group of fox-hounds behind a wire fence, signed by the artist, matted, framed and glazed, c.175 x 225mm., n.p., n.d.

Winifred Joan Ophelia Gordon Bell (British, 19th/20th Century), Studies of Corgis, signed lower left "W J Ophelia Gordon Bell", watercolour, 30 x 24cm (11.70 x 9.36in) Winifred Joan Ophelia Gordon Bell (nee Billinge) studied animal painting with William Frank Calderon at his School of Animal Painting in London, winning the School Scholarship in 1904. She studied figure drawing with Edwin Noble and later held various teaching posts. Her daughter, also Ophelia Gordon Bell, married the painter William Heaton Coope

William Rose Bock (1847-1932) - a fine presentation illuminated scroll gifted To His Royal Highness Edward Albert Christian George Andrew Patrick David, The Prince of Wales (later King Edward VIII) upon the Royal Tour to New Zealand in 1920, signed in ink by `W F Massey` ("Farmer Bill" - William Ferguson Massey, Prime Minister 1912-1925) on behalf of His Majesty`s Ministers for the Dominion of New Zealand dated 24th Day of April, 1920, surmounted by The Prince of Wales crest, written in manuscript and decorated in watercolour with circular and oval vignettes depicting titled New Zealand landmarks with gilt Maori pediment embellishments, comprising `Mount Egmont`, `Wanganui River`, `Mitre Peak`, `Mount Cook`, `Lake Wakatipu`, `Wairoa Geyser`, `Wairoa Falls` and `Lake Taupo`, signed W R Bock delt, in a 9ct gold mount, later modern gilt frame, scroll 18" x 13" The text of this address is published in the official records of the visit by the Prince. The record also indicated that the address was originally issued in a casket made of New Zealand woods and included an historic green stone Tiki, sadly separated and missing from the scroll. *William Rose Bock was born in Hobart, Van Dieman`s Land (Tasmania), by then in his 70`s he was entrusted with the commission to draw this scroll as a result of his expertise in calligraphy and miniature painting, his artistic flair was demonstrated in his work as a medalist, stamp designer, engraver and illuminator. His work as an illuminator included two jubilee addresses to Queen Victoria and other addresses to Pope Pius IX and other visiting members of the Royal family.

An oil painting on board, Melean, Australian outback, signed 9.5 x 19" an Australian watercolour and a selection of decorative prints etc

An oil painting `The Swan Hotel, Newby Bridge` 7 x 8.5" another similar and a watercolour village scene

Watercolour painting in Britain, 3 volumes,

Attributed to Francis Towne (1740-1816); "Foot of Mount Splugen, near Chiavenna", watercolour, seemingly unsigned, bears label verso from The Boydell Galleries, 15 Castle Street, Liverpool, with printed details relating to the painting and hand written annotations relating to the Fine Art Society, also inscribed verso, 36x26cm. Provenance: complete with letter of provenance from the Fine Art Society Ltd of 148 New Bond Street, London, stating as follows "In reply to your letter we beg to say that we did sell to Brian Hamilton a drawing by Francis Towne, entitled `The Foot of Mount Splugen`. In our opinion this is a genuine drawing by the artist. We purchased it from a Mr Milling, who was the proprietor of the Squire Gallery in Baker Street, he had many Francis Towne drawings through his hands, which came from the Merrivale family (hand written next to this, "with whom Francis Towne lived in Exeter") no doubt this came from the same source. I would say that every watercolour and drawing that Brian Hamilton bought from us was of the highest quality. Trusting that this information will be of interest to you, yours sincerely Edgar P Blake Director", signed by Edgar Blake and dated 1961 (illustrated)

Browning Wilson: watercolour, "The Bear, Woodstock", in strip frame, an oil painting, "The Duke and Duchess Beaufort", and a needlepoint picture, Tom Tower Oxford

Roger Kemble Furse 1903-1972- `Bomb Damage, The Old Vic`; charcoal, watercolour and gouache, signed, inscribed and dated May `42, 28x40cm: Note: See frontispiece illustration for `A Theatre for Everybody, The Story of the Old Vic & Sadlers Wells` by Edward J Dent, publ 1945 by T V Boardman and Company Limited, London. The illustration is titled `The Old Vic after a raid-from a painting by Roger Furse`.

Julian Rossi Ashton, English/Australian 1851-1942- Extensive, Australian rural landscape with outbuildings; watercolour and bodycolour over traces of pencil, signed and dated 1910, inscribed label for The Fine Arts Society, 29 Bligh Street, Sydney, Australia, attached verso, 25x35cm, Note: The original Sydney Art School today the Julian Ashton Art School, which Ashton established in 1890, recognised as one of the most influential in Australia. In 1897-98 Ashton was president of the Society of Artists which in 1903 amalgamated with the Art Society of New South Wales to become the Royal Art Society of New South Wales. In 1907 he led a successful move to re-establish the Society of Artists, and was president until 1921 and vice-president until 1940, when he returned to the Royal Art Society. Because of Ashton`s domination, the society became strongly identified with his art school. He was behind the establishment in 1911 of the Fine Arts Society`s gallery and shop in Bligh Street, the first to deal solely in Australian art. He also lectured and wrote frequently, especially for Art in Australia. Ashton was a well-established artist in both oils and water-colour. He claimed his `Evening, Merri Creek` (1882) was the first plein air painting done in Australia. His early landscapes had a distinctly Australian feeling of light and space. He was also known for his romantic figure-paintings, many done at beaches near his home at Bondi. Awarded the Society of Artists` medal for distinguished services to Australian art in 1924, he was appointed C.B.E. in 1930, and won the Sydney sesquicentenary prize for a water-colour in 1938. (ADoB)

* An Important British, Early-Mid 19th Century Polar/Arctic Expedition/Topographical Painting- "Esquimaux of Pr. Regents Bay"; (Captain John Ross of the Royal Navy explored Prince Regent`s Bay in north-west Greenland, during his 1818 expedition and again in 1829-1833) watercolour, titled, bears stamp for Edinburgh verso, 71x58cm: (unframed) Note: During the 19th century, there were dozens of British naval expeditions in search of the Northwest Passage. It was important to keep visual records of the unchartered lands of the Arctic, Between 1818 and 1851, Commander John Ross of the Royal Navy made several expeditions to the Canadian Arctic in the search of the Northwest Passage. As an inquisitive draughtsman he was one of the few Arctic explorers who learned about Inuit survival. Ross and his crew were able to survive for four consecutive years with the help of traditional Inuit food, furs and clothing. This picture reminiscent of other works by Ross, see: (A Voyage of Discovery, 1819, Ervick, A native of Prince Regents Bay" pl.11) During the British explorations of the region an assortment of artwork was produced mainly by naval officers on their military voyages. Many were trained in draftsmanship and watercolour sketching at the royal military academy in Woolwich, England, while others were taught on-board their ships. Many of the images narrate the search and discovery of the Northwest Passage, as well as highlight the differences between traditional Inuit values and the more modern British techniques. (unframed)

Colonial/Topographical School, 19th century- Warriors and figures seated beneath trees amongst bivouacs, with camels, horses and an elephant; pen and brown ink with watercolour, watermarked fleur de lys 1802, 26x48cm:together with a collection of similar drawings and watercolours, mostly circa 1804, relating to military subjects, by and after various hands: British school 18/19th century- "Galleys in a Naumachia from a Painting in Pompeii"; watercolour, titled: Italian View; watercolour in monochrome, dated 1762 and others, (a lot) (unframed)

An Indian Miniature Painting, Kangra School late 19th century, depicting figures in an interior with a terrace and garden, opaque watercolour and gold, 12x22cm: together with one other Indian Miniature painting depicting musicians entertaining a dignitary in an interior, 21.5x14cm., (2)

An Indian Miniature Painting, 20th century, depicting a couple in erotic pose, opaque watercolour, 21x13cm

L * DESIDERI AFTER GIOVANNI BELLINI - Mary Magdalene, signed, watercolour, 9 1/2" x 7 1/2". Note: From the painting `Madonna and child with two saints` housed in the Gallerie dell`Accademia, Venice.

John Crank, 1988, tawny owl on a post, watercolour, a simple painting of a garden by Ethel Brougham Austin (aged 11) 19/7/1886, Lancaster, (damage to frame), a 1960s print of Peter Rabbit, a black and white print of birds and butterflies in a hedge with nest and wild roses and daises