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A small coloured print of an Old Master painting of a boy with a lute, a small watercolour drawing of a moorland and two other modern watercolours (a lot, as viewed)

Tim Franklin Ross Thompson (British, b.1951) "San Carlos Water 1982" - a Falklands War sea battle, with the Type 21 frigate Avenger under aerial attack, the Canberra in the distance oil on canvas, signed 48 x 30in (122 x 76cm). * This painting was commissioned from the artist by the vendor`s father, an ex-RAF pilot and lifetime flying enthusiast. It is accompanied by the artist`s original watercolour sketch of the painting during it`s conceptual stages.

J S Russell 1898 - Richmond Castle from the River, oil painting on canvas, 26cm x 29cm, in gilt frame, and E J W Prior - Leighton Moss Silverside, watercolour, 18cm x 25cm, in modern frame (2)

A Charcoal and Watercolour Abstract Painting "Anatomy Table Revisited" signed indistinctly, 1978, 34" x 43" Best Bid

HARDIE, Martin, Watercolour Painting in Britain, pub Batsford, 1966 (3)

JELBERT (WENDY) "Gardens in Watercolour." dj, 4to, 1992 vg; plus eight others on painting technique.

A quantity of instruction videos for flower painting and watercolour etc.

Hardie; "Watercolour Painting in Britain", 3 volumes, 1967. (3).

AN OVAL BUST PORTRAIT MINIATURE, of a female, watercolour on ivory, 5 x 4.5 cm, two watercolours and a small oil painting (4)

WILFRED WILLIAMS BALL A Trompe L`Oeil miniature painting showing a coastal scene in a tabernacle frame with Tennyson`s Mariner`s poem. Watercolour. Initialled. 4 x 5ins.

R. Fishley, Watercolour of a lighthouse, signed and dated 1903, 10" x 12", a painting of a two masted ship in full sail and a coastal view, both by the same artist, together with a small quantity of prints. (all unframed).

Charles Frederick Tunnicliffe R.A., R.E., A.R.C.A.(Lond) (1901-1979). "Ring of Fallow Bucks". Signed, extensively inscribed on an exhibition label verso, pencil and watercolour, 44cm by 59.5cm, Provenance: The Wildlife Art Gallery, 97 High Street, Lavenham, Suffolk, Born at Langley, Macclesfield, won a scholarship to Macclesfield School of Art and Manchester School of Art 1915 -1921, and a Royal Exhibition Scholarship to the Royal College of Art in 1921, gaining his diploma in painting in 1923. His work was purchased by the British Museum, the Harris Museum and Art Gallery, Preston and for overseas collections. Won the Gold Medal of the Royal Society for the Protection of Birds in 1975.. See illustration

Attributed to James Wood (d.1860). Portraits of Two Girls, one holding a doll, the other seated holding a flower. Indistinctly signed and dated, possibly 1822, pencil and watercolour heightened with white, 27.5cm by 22cm Specialised in painting miniatures and naive vignettes of streets and buildings in Newcastle.

Wilson - Portrait of a Boy holding a Painting before a Curtain revealing a Beach, 20th Century watercolour, signed with monogram, approx 75cm x 51cm, within a gilt frame.

A small oil painting on board depicting sailing boats off a shore line with distant headland indistinctly signed (35cms x 27cms) and a set of four small contemporary watercolour drawings of landscapes by T. Moore in moulded wood finish frames

* Circle of Alexander Cozens 1717-1786- Study of Roman ruins; watercolour and bodycolour, bears an early inscribed letter attached verso, 26x36cm., (unframed). Note: Alexander Cozens traditionally held to be the natural son of Peter the Great of Russia and an Englishwoman Mary Davenport. The czar took her to Russia, where Cozens was born (b. St. Petersburg, 1717) Alexander Cozens was in fact son of Richard Cozens (1674-1735), who worked for Peter the Great as a shipbuilder. Alexander Cozens was sent to study painting in Italy from where he travelled to England around 1746. In 1760 he was among the contributors to the first public exhibition in London of works by living artists.

A Cornish oil painting by Alfred D Broom, together with a Victorian watercolour by Robert Anderson.

A watercolour Winifred P Biddle, Windover Hill and other 5 x 7" signed and other prints, watercolour, oil painting etc.

S D Bumyard; Watercolour, interior cottage with mother and daughter crying, entitled "A Hopeless Dawn" verso, with original label from the painting by Frank Bramley RA, in the National Gallery of British Art, 17 x 23cm, framed and glazed

LOUIS HAGHE (1806-1885) Belgian School. Signed and dated 1861 watercolour on paper manor house interior scene with artist painting a figure in Carolean attire. 24 3/4" x 35 1/2". See illustration on front cover.

Hardwick (J.J.) Still life with bird`s nest watercolour, heightened with body white, 215 x 285mm., signed lower right, dated lower left, also faintly signed in pencil, lower centre, artist`s manuscript title and address label on backboard, also two notes on provenance, framed and glazed, 1916. ***One note on the backboard states this painting was given to fellow society member Thomas Terry by the artist. The other note, in Mr Terry`s hand, recounts it was the artist`s last, as Hardwick felt his failing eyesight precluded him from painting another bird`s nest. He died in January 1917..

Joseph Edward Southall (1861-1944), Southwold Beach, signed with a monogram and dated 29.VI.1923 bottom left, further signed and inscribed with title on the backboard, also dedicated `To Charles Stanley Baker 22.X.1934, with love and congratulations from his cousins Joe and Bessie`, watercolour over pencil drawing, 9.5 x 16.5cm. Joseph Edward Southall (1861-1944). Born in Nottingham and articled to a firm of Birmingham architects, he attended Birmingham School of Art and where he gave informal lessons to Maxwell Armfield, Ethelbert White and Charles Gere amongst others. He visited Italy which `opened my eyes to the beauty of medieval art` and after seeing Carpaccio`s Life of St. Ursula in Venice he decided to paint in tempera. Following a tour to Italy in1906, he held his first exhibition in 1907 at the Fine Art Society where Ruskin admired his drawings and grasp of architecture. He exhibited extensively at home and abroad between 1897 and 1914 and became a conscientious objector during the war. His popularity and consequent output fell during the inter war years although he continued to exhibit and regularly visited and toured Europe as well as taking sojourns to Southwold in Suffolk and the river Fowey in Cornwall. The 1930 Winter Exhibition at the R.A., devoted to Italian painting, stimulated a renewed interest in tempera painting which consequently revived his fortunes. He became ill on his last trip to Venice in 1937 and never fully recovered.

ROBERT PAYTON REID ARSA (SCOTTISH 1859-1945) A Refugee watercolour, signed, original Aitken Dott French finish frame 37cm x 23cm Note: The oil painting of the same title and size was first exhibited at The Royal Scottish Academy in 1943 and was acquired for the RSA collection through the David Muirhead Memorial Trust; the watercolour version is believed to have been a private commission immediately after the 1943 exhibition. A Refugee is used by Learning and Teaching Scotland as part of their art education programme (see http://www.Itscotland.org.uk/nq/resources/RSAscottishart/imagedetails/arefugee.asp) and at the time of consignment is on display in The Friends Gallery at the RSA, Edinburgh, whose assistance in the researching of this painting has been greatly appreciated.

Pre-Raphaelite School (circa 1865), a watercolour, possibly on vellum, "Tobias and The Angel", after Pellegrino and possibly by Christian Schultz of The Arundel Society, the arched painting with gilt slip and frame surrounding. Height 23 ins, width 11 ins (see illustration).

Samuel John Milton Brown (1873-1965) British, a watercolour, "The William" William Goodsman Master after beating off an American Privateer The Comet in an action off Bermuda December 12th 1914. 13.5 ins x 20.5 ins, framed, signed and beneath the signature "From an Old Painting" (see illustration).

Yu Huan (born 1930 - Chinese) - Scroll painting - Watercolour - Roses, 26ins x 17ins, signed in black and with red seal mark, mounted on scroll with ebonised turned end

* Crane (H.). `Somersby` & `Deerpool`, 1954 and 1951, pair of gouache on paper drawings of bulk cargo carriers, signed dated and titled, each image approx. 23 x 34cm (9 x 13.5ins), matching mounts and frames, together with Hardcastle (John W. 1886-1973),`Bencruachan`, 1937,watercolour of a coastal merchantman, signed and dated, 20 x 44cm (8 x 17.25ins), framed and glazed with Prendergast (J.A.),`Beaverlake`, 1949,gouache painting of a cargo ship, 16.5 x 21.5cm (6.5 x 8.5ins), framed and glazed, with another similar (5)

* Littleford (Robert, 1940-). `Panoramic Beach Scene with Pier`, watercolour and coloured inks, signed lower right, 32 x 52.5cm (12.5 x 20.75ins), framed and glazed. Robert Littleford (born 1940) grew up in Oldham, taking up painting after a succession of low-paid jobs. His first major exhibition was at the Salford Art Gallery, and he has since held numerous exhibitions in the North of England and elsewhere, before he was taken up by Van Reimstyk Fine Art in the 1980s. He is a Fellow of the Royal Society of Arts, and a Member of the British Watercolour Society. (1)

* Marston (Freda, 1895-1949). "Loch Katrine", pencil and watercolour, signed to lower left corner, 283 x 435mm (11 x 17ins), mounted, framed and glazed, with autograph letter signed from the artist mounted on verso of frame, dated 1948, relating to the subject of the painting (1)

(L.I) After W.G Collingwood (British 1854-1932), RUSKIN IN HIS STUDY AT BRANTWOOD, watercolour, the famous artist, poet and social thinker at work in his study, unsigned, in an oak frame and under glass 16cm(h) x 23cm(w) sold along with a letter stating that this painting is a reproduction by W. Holmes of Ulverston of the painting that hangs in Brantwood by W.G Collingwood.

Gennaro Regina, Italian b.1965- "Naples, The Fountain of The Immacolatella", 2008; mixed media acrylic, gouache and watercolour on a photographic base on canvas board, signed with monogram and dated 2009, 57x107.5cm: together with one other mixed technique painting on a photographic base on canvas board by the same hand, depicting the Bay of Naples, signed with monogram and dated 2009, 72.5x98.5cm., (2) (may be subject to Droit de Suite)

Humphrey Spender ARIBA FSIA 1910-2005- "Windows and Doors"; watercolour, black ink and gouache, signed and dated 1963, bears artist`s own label and exhibition number `9` attached to the reverse, 29.5x44.5cm. Note: John Humphrey Spender, brother of poet Stephen Spender, was a designer and a famous photographer as well as an accomplished artist. He said he hoped that his paintings "might make people see differently". As well as numerous mixed shows, Spender had solo painting exhibitions at the Redfern and Leicester Galleries, New Art Centre and provincial venues. Tate Gallery, Victoria & Albert Museum, Government At Collection, British Council and many provincial galleries hold his work.

An antique Persian painting of a woman seated within a field of flowers, watercolour and heightened with gilt decoration, 7 1/4" x 4 3/4".

BENJAMIN JOHN OTTEWELL HRI (BRITISH 1847-1937) Droch-Na-Lame Bridge, Royal Deeside watercolour, signed, titled on old label verso 40cm x 58cm Note: Ottewell was a regular visitor to Braemar and latterly Balmoral painting scenes of the valley of the upper Dee. Queen Victoria thought highly of him: in June 1895 she wrote "saw some beautiful sketches by an artist by the name of Ottewell, who had spent several months in Braemar painting, having been snowed up for some weeks in the winter at the Linn of Dee. Ottewell went on to receive numerous commissions for his watercolours from Queen Victoria, HRH The Prince of Wales, and the Duke and Duchess of York. Ottewell was also engaged to teach his painting skills to Princess Beatrice.

NORA BLACK, a garden with hollyhocks and other flowers, watercolour, signed, and an oil painting of a horse (2)

Three Indian watercolour studies, depicting a slipper, two spoons and a dagger and sheath, another Indian miniature painting of figures in a garden and a Himalayan Buddhist painting, 19th century, 17.5cm. (3)

A quantity of watercolours, oils and prints to include a small watercolour of Chichester, a 19th Century oil painting of a country house scene, and more.

A collection of various paintings and prints including an oil painting on board of a beach scene, the reverse painted with a ghostly figure holding a flag, 7 1/4" x 15", another portrait of bearded gentleman signed B. Buffet, a print by Janet Elly-Lead, signed in pencil and dated '77, a watercolour drawing of an interior of a Malaysian house, and a print of a still life.

Mid 19th Century Botanical Study- depicting Weeds, Shells and Coral; watercolour, cum arabic, 25x33cm: together with a pair of early 19th century British school botanical studies circa 1823, watercolours, each with inscription and one dated 1823, depicting blooming flowers and two other studies one a 20th century reverse glass painting of a harlequin, (5)

A 19th century portrait miniature of a young lady After the painting of Margaret Lemon by Van Dyck in a wood frame with gilt lining, 9.5cm x 7cm; a pair of portrait miniatures of a gentleman and a lady, each a watercolour on ivory, in yellow metal and tortoiseshell frames, 5.5cm x 4.8cm (damages); another portrait miniature of a boy, watercolour on ivory, 5.7cm x 4.8cm (damages); and a tortoiseshell and ivory circular box bound in yellow metal with inscription, 4.5cm wide (lacking cover) (5)

Two 19th C Persian Islamic watercolour scripts, verso on the smaller painting

A DERBY COFFEE CAN AND SAUCER, painted en camaieu by Zachariah Boreman with figures in Chatsworth Park, including a gardener with a roller and travellers in gilt rope borders reserved on a sky blue ground, with gilt reeded auricular handle, saucer 14cm diam, William Duesbury & Co, painted crown, crossed batons, D, numeral 1 of the gilder Thomas Soare and titles Green House Chatsworth Derbyshire or Rocks Opposite Matlock High Torr Derbyshire in blue script, c1790 Provenance: Winifred Williams, Eastbourne, from whom bought by the late owner on 18 June 1970 for £220. This fine coffee can and saucer is of particular interest since Boreman's watercolour of the Greenhouse at Chatsworth is amongst those attributed to him forming part of the group presented to Derbyshire Archaeological Society by Sir A T Lawrence in 1925. These are on loan to Derbyshire Record Office and, with those acquired by Derby Museum in 1985, allow the artist's work on Derby porcelain to be identified or tentatively attributed. In the case of the present lot and several others in this sale, such attribution is beyond doubt because the painting is unmistakably by the same hand as that of the documentary mug in Los Angeles County Museum of Art (Gift of Walter T Wells, Jr), the only known signed example of Derby porcelain painted by Boreman. See Bambury (A) and A P Ledger, Watercolour Paintings by Zachariah Boreman, DPIS Journal 3, pp70-95. ++The coffee can in fine condition. The border of the saucer restored

A DERBY CYLINDRICAL JAR, painted probably by Thomas 'Jockey' Hill with oval panels of Arkwright's Mill and another Derbyshire scene in gilt frames of trailing laurel leaves reserved on a pink or "Bloom" ground, with gilt shell handles and rims, 7.5cm h, William Duesbury & Co, painted crown, crossed batons, D and titles Cotton Mill near Matlock Bath Derbyshire and Near Matlock Green Derbyshire in blue script, c1795 Amongst the second group of thirteen 'Matlock' watercolours linked to Zachariah Boreman's decoration on Derby porcelain is a watercolour of the Cotton Mills near Matlock Bath. It is identical to one of the two views on the present jar, the painting of which is clearly not by him, but is attributable to Hill. The same view is found on a plate in the Chatsworth Dessert Service [pattern 148]. This implies that the two sketch books were of views taken on the spot and may well have been used as sources at the factory. John Brewer and George Robertson also painted similar Derbyshire landscapes in watercolour as sources for porcelain decoration. Joseph Lygo, William Duesbury's London agent reported in January 1795 that Boreman "had not the least thought of returning [to Derby] with the idea of doing landscapes at 1s 6d each [and] he says it is out of the power of any man in the manufactory to copy two of his coloured landscapes in a day". See Ledger (A P), Further Watercolour Sources of Landscape Paining on Derby Dessert Services, DPIS Journal 4, 2000, pp 8-26. ++In excellent condition with flat chip on the lower surface of the foot rim which is not normally visible

JOHN MACWHIRTER: LANDSCAPE PAINTING IN WATERCOLOUR, 1900, 1st edn, obl, orig cl worn + EDWIN BALE: THE MACWHIRTER SKETCHBOOK, 1906, 1st edn, orig cl worn, spine detchd (2)

‡ SIR WILLIAM RUSSELL FLINT, RA, PRWS, RSW (1880-1969) VARIATIONS IV signed, signed again and inscribed on the backboard, watercolour, 49.5 x 68.5cm Provenance: Frost & Reed Ltd. from which bought by the late owner, c1962. Exhibited: Royal Academy, Diploma Gallery Exhibition of Works by Sir William Russell Flint, 1962, No19 (lent by the artist ) Illustrated: Pictures From the Artist's Studio, p19. Published by Frost & Reed Ltd as a signed print in an edition of 850 in 1966. In the entry in the RA Catalogue, Sir William Russell Flint wrote about Variations IV: It tickles my fancy to notice how some commentators assume that whenever I paint a dark-haired girl she must be Spanish. I have not painted in Spain since before World War II, though I have visited it and often wish I could paint there again. France, not Spain, is my painting country. It is there I have spent a good many years of my life and though to my sorrow I shall never master her graceful tongue I always feel at home there. I know her varied regions far better than most Frenchmen. My sister and I agree that there still must be some sympathy and understanding inherited from 'The Auld Alliance' between France and Scotland. My wife, who had an amazing - and most amusing - knowledge of French history always felt the same, but then some of her forebears - plump parsons, if you please! - had gallivanted off to Paris and Bordeaux to enjoy themselves while their curates carried on at home on miserable pittances. As she had also been 'brought up' in France her liking was natural. ++In fine condition

ALFRED PERCY TOMKIN watercolour - Pwllheli Town and the harbour, originally from his Estate sale, signed and entitled to reverse of painting, 10 x 14

REUBEN CHAPPELL watercolour - 'fairweather' study of SS Kempock of Glasgow, Captain J Roberts together with an identically framed photograph of the partner painting in foul weather, signed and entitled, 12 x 20, the painting(s) are also accompanied by a photograph of Captain and Mrs Roberts taken at Buckingham Palace, July 29th, 1918 when he visited to accept the DSC (Provenance: entered by a family member of Captain J Roberts, DSC, whose exploits on the S S Kempock in disabling a German Uboat and resulting in his award of the DSC are well documented in 'Ships & Seamen of Anglesey' by the late Aled Eames, pages 528 and 529)

A Chinese watercolour on paper, 20th Century, depicting a blossoming branch together with a similar painting of birds amongst blossom, framed and glazed.

Joseph Appleyard (1908-1960), "The Badsworth Hunt at Badsworth", signed, watercolour over pencil, 28 x 37cm.; 11 x 14.5in. * This painting was done for the front cover of 'The Dalesman'.

W. Scrase - watercolour, entitled 'Sweethearts and Wives' after S. E. Waller, dated 1928, 14 x 20in., together with a postcard showing the original painting by Waller

R. Beatt, "Kew in Surrey 1885", Watercolour, signed and a companion painting, "Ovals", in brass frames and two Victorian coloured Prints, (4).

MRS BREENA SIVELL (NORWICH ART CIRCLE), SIGNED WATERCOLOUR, "Easter Lilies", 20" x 14"; together with a further OIL PAINTING, TWO WATERCOLOURS AND A PRINT (5)

VICTORIAN SCHOOL, REVERSE OIL PAINTING ON GLASS, A River Landscape with Figure in Boat near Cottage and Church, 16" x 24"; J H, SIGNED GOUACHE, River Landscape with Ducks by Cottages, 7" x 10"; and J S, INITIALLED WATERCOLOUR, River Landscape with Distant Settlement, 7" x 11" (3)

Assorted framed watercolours, oil painting of estuary at low tide, watercolour of daffodils etc.

Gordon Frederick Browne R.I., R.B.A. (1858-1932). "Van der Decken". Signed with the artist's initials, inscribed on an exhibition label verso, pencil, watercolour and gouache heightened with white, possibly on tinted paper, 22cm by 24.5cm. Exhibited at the Royal Institute of Painters in Watercolours, 195 Piccadilly, London. Provenance: J Morton Lee, Cedar House, Bacon Lane, Hayling Island, Hampshire. According to folklore Van der Decken was reputed to be the Captain of the Flying Dutchman and this painting could be an illustration for a book.

Helen Bradley M.B.E. (1900-1979). "Quick Children said Alice, I believe we are going to be caught in a shower, George & I have been with Alice to Marton Mill for Flour" (1970). Signed, inscribed with the fly symbol and dated 1970, pencil, watercolour and gouache heightened with white, 36.5cm by 54cm. Provenance: Unicorn Gallery, 1 Kings Court, Wilmslow. The picture is sold with a card written with the full title, date (1970) and the artist's biographical details. Born in Lees, near Oldham, started painting scenes of her childhood in her sixties. Her work became popular through reproduction in her books "And Miss Carter Wore Pink", "The Queen who Came to Tea", and "Miss Carter Came with Us". See illustration

† Mary Fedden O.B.E., R.A. (b.1915). "Black & White Goats". Signed and dated 1986, inscribed on a label verso, watercolour, 16cm by 22cm. Sometimes mistakenly described as the daughter of Roy Fedden (her uncle), Mary studied at the Slade School of Fine Art 1932-1936, and taught painting at the Royal College of Art 1958-1964. Her pupils included David Hockney and Allen Jones . She subsequently taught at the Yehudi Menuhin School 1965- 1970. See illustration

Herbert Davis Richter R.I., R.S.W., R.O.I., R.B.A., R.B.C., P.S. (1874-1955). "The Shimmer of Silver". Signed, inscribed with the title on the stretcher verso, together with the artist's name, address and date 1949, oil on canvas, 64cm by 76.5cm. Born in Brighton, the artist studied furniture design at Bath School of Art and worked as an architect and designer 1895-1906. Studied at Lambeth and the London School of Art under Sir Frank William Brangwyn and John Macallan Swan. He exhibited at the Royal Academy from 1906, other London galleries and the Provinces. His principal works include The City Portals, Rebuilding Putney Bridge, Floral Decoration and The Rag Fair-Caledonian Market. He published the book "Flower Painting in Oil and Watercolour" and other works. See illustration

Edmund Caldwell - 'The Taxidermist' (Interior Scene with a Man painting the Tongue of a Mounted Fox Head beside a Dog), watercolour, signed and dated 1889 recto, label verso, approx 23.5cm x 30.5cm, within a gilt frame.

Captain Charles Bedwell, RN (English, 19th Century), The Ratcliffe, 739 tons, Captain Phillipson entering Sydney Heads Light House bearing South South East, 1850, watercolour, 34 x 52cm (13.26 x 20.28in). Provenance: By descent within the Robb family, ship owners of Newcastle. The convict ships did a regular run to Australia or Van Diemen's Land every eighteen months or so, usually leaving from Dublin, London or Portsmouth. There were very many of them. The present paintings are the only known representations of these ships, and as such are an important historical record, especially from the Australian viewpoint. Each watercolour has an original inscription of place and ship's name and all ships were captained by Edward Phillipson or James Phillipson between 1845-1850. They are all shown in the approaches to Sydney although they are documented as sailing to Tasmania as well. They are the Alexander in 1847 (this would be the Alexander II), the William Metcalfe (or Mitcalfe) in 1846 and the Ratcliffe in 1850. The backgrounds are Sydney Heads Lighthouse, Port Jackson, Darling Harbour and the Macquarie Fort. The Ratcliffe put in to the Isle of Wight where she took on twenty-seven Parkhurst boys. The boys made up part of the cargo of 248 male convicts which the Ratcliffe transported to Australia. The Ratcliffe set out from Spithead on 19 July and arrived in Hobart Town on 11 November 1848. The Parkhurst boys were juvenile prisoners from Parkhurst Prison on the Isle of Wight, sentenced to "transportation beyond the seas" and transported to Australia and New Zealand between 1842 and 1852. Some of their crimes were trivial, to say the least - for example, stealing a bar of soap or ribbons. The youngest boy on board, Robert Haybard, aged nine, had stolen a jar of potted beef. Either before leaving England or on arrival at their destination, they were pardoned on the condition that they were "apprenticed" to local employers, and that they could not return to England during the term of their sentence. In the years between 1842 and 1852 nearly 1,500 boys aged from nine to eighteen were transported to Australia and New Zealand from Parkhurst Prison. A diary by Jonathan Binns Were, CMG, published in Australia in 1964, and entitled "A Voyage from Plymouth to Melbourne in 1839" describes his journey to Australia aboard the Metcalfe in 1839. This publication was illustrated by a painting of another ship as there was no known image of the Metcalfe at the time. The Surgeon's Log for the Ratcliffe is in the Public Record Office in England. The Ratcliffe was a larger ship than the other two and also, later, took the 96th Regiment of Foot from New Zealand to India. The artist Captain Charles Bedwell, RN, explored Japan with Lord Elgin, and was responsible for making many paintings and drawings there (see also lot 450)