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Keith Burtonshaw, three watercolours of Sussex/ South Downs; two views of Amberley and one of Ashdown Forest, all signed. ; Purchased from the artist's estate BIOGRAPHICAL NOTE; THE BEAUTY OF BRITAIN - KEITH BURTONSHAW 1930-2008 An artist's lifetime work of paintings of beauty spots around the country is included in this sale, the collection having been purchased by the vendor from the artist's Estate. Bachelor Keith Burtonshaw (1930-2008) was a highly competent, self-taught amateur artist, influenced by Constable, Gainsborough and Reynolds. He was born and lived in Beckenham, Kent, the son of a train driver who worked hard to educate his son by sending him to Penge Grammar School. However, the boy was less than academic, although he did show a great aptitude for art. As a result, he spent many hours during his youth in libraries, studying the work of the masters in reference books and visiting galleries, viewing the work of established artists. After school, a series of odd jobs was followed by a period in the RAF, during which time he trained as a pilot. He subsequently worked as a clerk in the Beckenham office of the Prudential insurance company, but painting was his life and landscapes were his lifelong interest. He toured the country, capturing the mood and atmosphere of his favourite views, his handling of light making his pictures both technically accomplished and charming. Watercolour was his principal medium, but the collection includes a number of oils. His first foray into the commercial art market was when as a boy, he used to paint wooden trays which his train driver father turned into firescreens to eke out the family income. Later he became one of England's most prolific self-taught landscape artists, touring post-war beauty spots and turning out thousands of paintings over a 60-year career. There are more 1,600 watercolour and oil landscapes. They show such areas of natural beauty as Scotland and the Scottish Highlands, the Lake District, the South Downs, the West Country and East Anglia, the Derbyshire Moors, the Yorkshire Dales, Kent, London and Surrey, all painted with sensitivity in an atmospheric style and quality. The collection has been divided up into 490 lots based on the regional subject matter and providing an attractive opportunity for collectors to purchase at affordable prices. Watercolours will be sold in lots of three of four estimated at a modest £40-60, while the oils on board will be sold in twos, each estimated at £50-100 Mrs Jill Reardon, Secretary of the Bromley Art Society, of which Burtonshaw was a prominent member, paid tribute to the artist. In an interview with the Yorkshire Post she said: "He was very prolific - right from the time he came out of the RAF, although he never travelled abroad much. "He also loved to paint Thames barges and sent them up to Yorkshire to see if he could sell them. We told him they would never sell - but they did. People there thought the Thames barges very exotic and they snapped them up." He used to send pictures on a regular basis to other galleries whom he never met and who sold his work but who knew very little about the artist. Burtonshaw was a member of the British Watercolour Society, the London Sketch Club, the United Society of Artists and the National Society of Painters. He also exhibited at the Royal Society of Marine Artists and the Royal Institute of Painters in Watercolours in London. His work can be found in collections around the world but his pictures have appeared only occasionally at auction in the last 20 years or so, making this sale a unique opportunity for collectors. His framed work can be found for sale in galleries in the Lake District for about £350. All of the pictures will be available for viewing on the Internet at www.ewbankauctions.co.uk. 1115

PAINTING & WATERCOLOUR TECHNIQUES. 2 BOXES.

PAINTING & WATERCOLOUR TECHNIQUES. BOX.

Jan Van Huysum (1682-1749) Flowers in a terracotta vase on a marble ledge Signed lower left, fecit. 1739 Watercolour on paper stuck down on board, 45.5x32.5cm Provenance. The estate of Siegfried Sassoon (1886-1967) Jan van Huysum was the most accomplished of a family of 18th-century Dutch painters who specialised in highly detailed flowerpieces, painted in oil on copper or wood panel. He is credited with some 240 such paintings, some of them in major collections throughout the world. A number of quite freely handled watercolour drawings also exist which are probably studies of the intended arrangement of the flowers, foliage, terracotta pots, marble table tops, and often a bird's nest, which are typical features of the paintings. However, a handful of highly finished watercolour paintings also exists-two are in the Teylers Museum in Haarlem and one in the Fitzwilliam Museum in Cambridge. One of the Teylers Museum watercolours was the most expensive item in a sale of drawings in 1796. The example in Cambridge has been described in the most recent publication on Van Huysum (see below) as 'meticulously signed and dated in the same manner as a painting, and may be regarded as a work in its own right. ... All this is interesting, because it also shows that Jan van Huysum derived drawings from his paintings, but these were finished watercolour drawings'. It is to this small group of what are described as 'little jewels of craftsmanship, scarcely inferior to the oil paintings' that the remarkable work offered for sale belongs.

A coloured print, donkey, a watercolour, spaniels in a wood, and an oil painting, study of a labrador

A 19th Century watercolour, cottage beside the sea, an oil painting, North Wales, and a watercolour, lighthouse

ASCRIBED TO PAUL SANDBY, R.A. (1730 - 1809) Bridlington Priory Church, Yorkshire, bears old inscription, initials and date on the backboard 'Bridlington Church, Sept 4th 1786, P.S.' pen, ink and watercolour 11 1/2 x 16 1/2 in (29.3 x 41.9 cm) This painting shows Bridlington Priory Church as viewed from the South West. The building depicted was once part of the Augustinian Bridlington Priory, dissolved in 1538 by Henry VIII. During the dissolution of the Monasteries the Priory was largely razed to the ground. For three centuries after the Dissolution, the surviving nave continued to the used as the Parish Church. By the eighteenth century, the building was in a ruinous state. The great West Window was blocked in, and a small brick cupola had been added to the south-west tower to house a clock. Inside that tower, three bells, all cast by James Harrison of Barton-on-Humber were added in 1763 and 1782. The Church was not significantly restored until the 19th Century, when the Church employed Sir George Gilbert in 1874 to completely refurbish the Church as it is today.

An oil painting on board, a small gouache painting, coastal watercolour and a colour print, all framed

A monochrome painting on card, rowing boat approaching tall ship, the Mary Celeste, 9 x 17in., a watercolour by E. Godfrey, country house and other works, all frameless

David Cox OWS RWS (1783-1859). Mother and Child on a beach, circa 1840. Oil on board. Signed lower left. 21cm x 32.5cm. David Cox took up oil painting in 1839 and for the first few years his style was experimental and often much tighter than the freely painted windy brushstrokes that he developed in later years. In August 1840 Cox stayed with Mr & Mrs Roberts in Blackpool. He painted a watercolour of Mrs Roberts and Child, which is now in Manchester Art Gallery, who is almost certainly the model for this painting. Visit www.dnfa.com for condition reports.

John Byam Liston Shaw RI ARWS (1872-1919). The caged bird. Oil on canvas. Signed and dated 1907 lower left. 90cm x 70cm. Provenance: Glen Byam Shaw, the artist's son; Mrs R. O. Warren 1932; Christie's London, 23rd March 1984, lot 67. Exhibited: The New Gallery, London, 1907; Ashmolean Museum, Oxford, Byam Shaw, 1986 No. 27; Peter Nahum at The Leicester Galleries, The Brotherhood of Ruralists and the Pre-Raphaelites, June-July 2005. Literature:Pall Mall Gazette Extra, May 1907, Page 118; Rex Vicat Cole, The Art & Life of Byam Shaw, Seeley Service & Co, London & J. B. Lippincott company, Philadelphia, 1932 Pages 142, 147-9, illustrated page 148; Peyton Skipworth, Connoisseur, March 1976, page 196; Gerald Taylor, Byam Shaw 1872-1919, The Ashmolean Museum Oxford, 1986. No. 27 (illustrated). Byam Shaw carried the torch of Pre-Raphaelitism across the turn of the century, a period when books and exhibitions had renewed interest in the Brotherhood's work. In his paintings he revived the Brotherhood's use of bright, pure glazes and restated their belief of the importance of truth and sincerity in art. Moreover, he turned to literature and history for inspiration. . In The Caged Bird, Shaw uses allegory to the same purpose as William Hunt's 'The Awakening Conscience'. The caged bird is literally released, whilst the girl herself will never be free to follow her heart. As the youngest daughter, her duties lie with her ageing parents. The startling clarity and gaiety of the colours set in the old garden at Condover Hall in Shropshire are in sharp contrast to the sobering reality of her situation. The model for the painting was Maud Tindal Atkinson, an artist pupil who exhibited at the Royal Academy in 1907, from whom he painted a life-size watercolour which hung at the Royal Academy in 1906. The symbolism of the release of a caged bird in 17th century Dutch painting signified the loss of virginity of the owner. As Maud was his favourite pupil, it would seem apparent the this hidden meaning was not lost on the artist.. Visit www.dnfa.com for condition reports.

ERNEST ARCHIBALD TAYLOR (SCOTTISH 1874-1952), Corrie, Arran, watercolour, signed, 22cm x 29.5cm. Provenance : Exhibited Smith Institute Stirling, label verso with title, signature and Taylor's address at 8, Esplanade, Greenock. Note: Husband of Jessie Marion King and prolific artist, designer, teacher and journalist. One of the most significant and influential figures of the Kirkcudbright School, he was regarded as a man of letters and a gifted speaker, carrying out numerous public engagements such as the opening of the Robert Burns House Museum in Dumfries in 1935. The Taylors ran a summer painting School at Corrie, Arran for many years.

WILLIAM (BILL) MILES JOHNSTON (SCOTTISH 1893-1974), The Artists Hut, Carrick Shore, watercolour, signed, 20cm x 27cm. Note: Bill Miles Johnston lived in Kirkcudbright for many years and was a prominent member of the artist community. He painted mainly in watercolour and also created the range of hand crafted "Zoo Pottery". He ran a shop "The Crafts" in Castle Street and painted numerous highly collected watercolours of the town and the surrounding areas. The hut shown in this painting is believed to be the one used by Johnston as a studio.

"The Royal Institute of Painters in Watercolours", Spring 1906, "The Studio" Volume 59, "The Studio Spanish Painting", "The Studio The Genius of J.M.W. Turner R.A.", "The Birmingham Magazine of Arts and Industries", volume 1 and "Famous Watercolour Painters VI - Thomas Rowlandson". (6)

"The Primrose Fairy" an early 20th century pencil and watercolour painting of a naked girl laying on a bed of primroses, unsigned, 7 1/4" x 7"

Mard (Diana Russell Allan); "Many Moons" signed by the author, dust wrapper torn, "Little Cupid" by the same author, R P Leitch; "A Course of Watercolour Painting" 8th edition, illustrated and various other books.

REX HERVEY; Oil Painting of a Coaster leaving port, signed. 15 1/2" (39.5cms) x 20" (51cms) and a Watercolour landscape of the Decoy Way, Thirkleby, 21" (53cms) x 13 1/2" (35cms).

An oil painting, Venetian view, and another similar watercolour

A large 19th century Chinese watercolour on silk painting decorated with figures in a garden setting, 105cm x 54cm; a Chinese watercolour on silk painting of two figures by a river, 76cm x 32cm; and another Chinese watercolour on silk painting of two figures, 86cm x 34cm -3

A COLLECTION OF ART REFERENCE BOOKS AND CATALOGUES ON BRITISH 18TH AND 19TH CENTURY WATERCOLOUR ARTISTS to include Martin Hardie, 'Watercolour Painting in Britain', 3 vols., 1967-1979; Lambourne and Hamilton, 'British Watercolours in the Victoria and Albert Museum', 1980 and a quantity of related items (25)

EDWARD HENRY CORBOULD RI (1815-1905), The Marquis of Waterford at the Eglinton Tournament August 31 1839, watercolour, signed bottom left with an artist's pallet enclosing the initials RI and dated 1894, inscribed with the title on the bottom right and 'painted expressly for Reginald Henry Pott Esq by E.H.C.: his father in law - aged 82, 1897', in an early glazed gilt gesso frame, 82cm; 32 1/4in x 59cm; 23 1/4in, Exhibited, The Victorian Era Exhibition, Earls Court, 1897, no. 209. The Eglinton Tournament was held at Eglinton Castle, Aryshire on 28th and 30th August 1839 and attracted around 100,000 people. It started with a procession accompanied by torrential rain which completely waterlogged the ground. The knights sheltered under a grand stand next to the lists which collapsed under the weight of water. However, the tournament continued with running at the quintain and tilting. The present picture records what was apparently the best tilt, that held between Lord Eglinton and Lord Waterford, after the second course when the former broke his lance. Much of the armour for Eglinton was supplied by the London art dealer Samuel Luke Pratt who worked at 47 New Bond Street. See K. Watts 1992, pp. 449-450. Edward Henry Corbould was appointed 'Instructor in Historical Painting' to the Royal Family in 1851. He taught a number of members of the family over the following twenty-one years and many of his best works were acquired by Queen Victoria, Prince Albert and other members of the family. He produced a large number of illustrations for historical, biblical, and literary subjects, including Chaucer, Spencer and Shakespeare.

Patrick Downie A Winters Evening, Largs 1910 watercolour, signed 44cm x 59cm Provenance: the painting was originally owned by James Guthrie, owner of 'David Guthrie & Sons' in Largs and was subsequently bequeathed to the current vendor

A Chinese watercolour painting on rice paper, late 19th Century, of figures wearing traditional costume, four Persian/Indian manuscripts and a collection of Oriental prints and paintings.

V N Stepney: A father and son walking along a riverbank, watercolour, signed, 9" x 12 1/2", two further smaller watercolours by the same artist, a Limited Edition woodcut of a male hen harrier, an oil painting by Vincent of two bald headed eagles and a Baxter type print of Wesley (6).

Mary Duffield, RI (British, 1819-1914) Still Life of Wild Roses watercolour 16 x 20cm Provenance: The artist's great niece Mary Duffield was the author of The Art of Flower Painting, 1856

CHARLES FREDERICK TUNNICLIFFE watercolour - 'Buzzards above the Mawddach Estuary', signed, 18 x 27 (Provenance: commissioned by the present owner in 1975 with copies of correspondence between the owner and the artist during the painting period)

Pair of 19th Century watercolours, portrait of a man and woman, unsigned, 12" x 9", and a 19th Century watercolour, 3 Classical women painting, unsigned, 8.5" x 14", (3), framed.

E. Corrie, Still Life of fruit in a glass, on a table, Watercolour and a companion painting of a bird eating berries, (2).

Napoleonic Interest A 19th century oval portrait miniature painting of Napoleon II as Duke of Reichstadt By Forster watercolour on ivory, of the Duke in white tunic, inscribed to verso 'Herzog v. Reichstadt', in a large square rosewood and ebonized frame miniature 7cm x 5cm

K.V. HUTCHISON. Signed watercolour on paper, church garden scene together with unframed, unsigned pencil drawing on paper, wooded landscape 13 3/4" x 19" and 11 3/4" x 13 3/4" and R.H. Signed with initials, oil painting on board, impressionist wooded landscape. (3)

After Joseph Mallord William Turner (1775-1851), Brighton From The Sea, Watercolour and bodycolour heightened with white, Label pasted verso 'purchased by Sir Joseph Lees in 1862. Mr Scott of Dalyell, Bowden, Cheshire.', 33cm x 69cm, The present watercolour is a reduced copy of Turner's oil painting of 1830 (63cm x 132cm), for the third Earl of Egremont's dining room at Petworth House, Sussex

Attributed to William Roberts (1895-1980) - Watercolour study for a larger painting - "The Carpet Beaters" - Group of five figures and a child beating carpets (within red squared grid), 7ins x 5.57ins, unsigned, in narrow painted frame and glazed. Provenance : Thought to have been executed at The Cooling Gallery, Bond Street, London, in the 1920s

English School, 19th century Ozanne Building at Elizabeth College and Old Court, Guernsey watercolour 10 x 18in (25.5 x 46cm). * Provenance - This painting has never appeared on the market previously, having been passed down though the same family for several generations. It was given to the vendor's family when they visited Guernsey to visit a family member circa 1900. Their grandfather was the wine merchant Henry Hitchins, as was her uncle Alfred Hitchins. In 1891 they lived in View House, Canichers. A brother Reginald Hitchins was a boarder at Old College, College Street, aged 15. F.C. Horton was Assistant Master at Elizabeth College 1872-1902. His daughter Gertrude Horton married Col. Charles Henry Macintire Hitchins (No. 1986) born 1860 who attended Elizabeth College 1875-1878. The part of Elizabeth College now known as The Ozanne Laboratory was built to replace the 'House in the Close' which was demolished circa 1753. The cost of this new construction in 1760 was approx £600. Obviously this building has been greatly altered and extended since that date, however this painting gives some idea of what it looked like at the end of the 19th century. It is possible to date this painting between the years 1846 when the construction of Victoria Tower had begun, and 1874 when the building which stood at the bottom of Candie Road was demolished. In the Guernsey census of 1851 a family named Parker were residents of Old Court, Guernsey. Very little is known about this property which was almost certainly demolished to accommodate the building of the main road (St Julian's Avenue) out of St Peter Port to the western parishes. The house appears on an 1843 map and an advertisement in The Star Newspaper dated 7th May 1856 advertises Old Court for sale - The description reads; ' OLD COURT' Late in the occupation of Mrs Parker Deceased. To be SOLD or LET, for a term of years, that new MANSION, consisting of dining, drawing, and breakfast-rooms, opening on a beautiful terrace; nine bed-rooms, dressing rooms, water-closets on each floor, kitchens, butler's pantry, other convenient offices. It is enclosed within a walled garden, well stocked with choicest fruit trees, in full bearing. The premises are situate near Elizabeth College and St James's Church. For terms apply to Mr W.Le Messurier, Notary Public, Commercial Arcade.' We would like to thank The Priaulx Library, Guernsey for their assistance with this information. Further information regarding 'Old Court' can be obtained at the bottom of the web page - http://www.priaulxlibrary.co.uk/priaulx-library-services-case-study.asp To be sold with various related photocopies of research information.

Emmanuel Levy (1900-1986), Rural village, signed and dated 1945, watercolour and ink, 31 x 43cm.; 12.25 x 17in. *Studied at in Manchester and St. Martin's School of Art London and Paris. Taught drawing and painting at Manchester University and Stockport School of Art. Had six solo shows in Manchester between 1925 - 63 plus a number in London. There was a retrospective at Salford City Art Gallery 1948; another at Fieldborne Galleries 1976; and one at Stockport Art Gallery 1982. National Portrait Gallery Ben Uri Gallery and galleries in Manchester Stockport and Salford hold his work.

C.C. TITTERTON. Robinson Crusoe, signed, watercolour, 14 x 10 in; and an oil painting by another hand depicting a Nile view with boat (2)

H. WARMAN. Portrait of a lady, three-quarter-length,, wearing brown Dress and Veil, signed, watercolour, oval, 9 1/2 x 7 1/2 in an oil painting after E. de Blaas; a folder containing a selection of engravings after Landseer ; and a miscellaneous collection of prints and drawings by various hands including Jeff Evans (qty)

Antiques & Art Reference A collection of art and antiques reference volumes, circa 120 volumes [6 boxes], to include Norman, Geraldine Dutch painters of the 19th century. 1983. 4to, dustwrapper; Poynder, Michael The price guide to Jewellery 3000BC to 1950AD. 1990. 4to, dustwrapper; Catley, Bryan Art Deco and other figures. 1981. 4to, dustwrapper; Mackay, James The dictionary of western sculptors in bronze. 1977. 4to, dustwrapper; Mallalieu, H.L. Understanding watercolours. 1985. 4to, dustwrapper; Ibid. The dictionary of British watercolour artists up to 1920. 1984. 4to, two volumes, dustwrappers; Waterhouse, Ellis The dictionary of British 18th century painters. 1981. 4to, dustwrapper; Caw, James Scottish painting 1620-1908. 1975. 8vo, dustwrapper; Siltzer, Frank The story of British sporting prints. 1979. 4to, original cloth gilt; Li, He Chinese ceramics. 1996. 4to, dustwrapper; Tooley, R.V. English books with coloured plates 1790 to 1860. 1987. 8vo, dustwrapper, many published by the Antique Collectors Club; and a quantity of others on art and antiques, 20th century (qty)

An oil painting on board, Barbara Seaton, rural landscape, signed 10 x 14" and a watercolour, Neil Newman, coastal way, signed 10 x 14"

An oil painting of roses; a watercolour 'Cricket at Yapton'; a race meeting enclosure print and five other pictures

Victorian English School unframed pen and watercolour painting depicting officers in an open carriage being greeted by crowds

A Japanese Painting, depicting a couple in erotic pose, opaque watercolour on paper, 27x28cm: together with an engraved and painted Persian mother-of-pearl picture, 6.8x6.8cm., (2). Provenance: Property of a Deceased Estate

Walter E. Spradbery - Two pictures - Watercolour - “Roses in the Studio”, 14ins x 15ins, and Oil painting - “The Wilderness”, canvas 24ins x 20ins, both signed in full, in white painted frames

Cyglor-Portrait of Ernst Dietrich, the Forest Manager to Hermann Goering, standing wearing a feathered cap and hunting jacket, lighting a pipe, three quarter length, watercolour and bodycolour, signed and dated (19)37, 57cm by 46cm **Reputed to have hung in Goering's Hunting Hut, sold with a letter from the film producer Thomas Holler, regarding the painting.

Collection of literature and art references, including HARDIE (Martin) Watercolour Painting in Britain, second edition, 3 vols, London 1967, in dust wrappers, etc (in 2 boxes)

John Robertson Reid RI RBA ROI (Scottish 1851-1926) Between Barnet and St Albans watercolour, Signed and dated 1915 27cm x 37cm Provenance: Royal Institute 1919 Exhibition label verso with title and Reid's address at 82 Parkhills Road, Hampstead. This painting was also the subject of an article by Sir Claude Phillips in The Daily Telegraph 19th March 1919, fragments attached verso.

William Leighton Leitch R.I. (1804-1883) Continental Lake Scene with Figures and Horses in the Foreground Bearing the artist's studio stamp monogram, pencil and watercolour, 12.5cm by 20cm The artist was born in Glasgow, practising drawing with Daniel Macnee. By 1824 he was painting scenery at the Glasgow Theatre Royal and spent two years in Mauchline painting snuff box lids. He moved to London and worked at the Pavilion Theatre, taking lessons from Anthony van Dyke Copley Fielding. visited Italy in 1833, remaining until 1837.

Norman Wilkinson C.B.E., P.R.I., R.O.I., R.S.M.A., H.R.W.S. (1878-1971) "River Avon at Somerley"; "River Teviot at Kelso" Both signed, also inscribed with the titles by a later hand verso, pencil and watercolour heightened with white, each 13cm by 18cm (a pair) Provenance: With the Tryon Gallery, 1964 An illustrator and poster artist, he made an important contribution in both World Wars in the field of camouflage. Born in Cambridge, educated at Birkhamstead School and studied art at Portsmouth and South Sea School of Art where he later taught. In 1898 he contributed to the Illustrated London News and also the Illustrated Mail. In 1899 went to Paris to study figure painting. Awarded the CBE in 1948 and worked into his 90's.

James Webb (1825-1895) "Ehrenbreitstein on the Rhine" Signed, also inscribed with the title of the work and the artist's name verso, oil on canvas, 46cm by 76.5cm The artist travelled extensively throughout Europe painting primarily in Holland, France and on the Rhine. Influenced by JMW Turner, his works are in the Tate Gallery, the Victoria and Albert Museum and many provincial galleries. Sales of his remaining works and his own collection were held at Christies in 1868. He exhibited at the Royal Academy, the British Institute, Suffolk Street and the New Watercolour Society. See illustration

Claude Harrison A.R.C.A., R.P. (b.1922) "Cythera" Signed and dated "98" (1998), also inscribed with the artist's name and date, tempera on board, 51cm by 76cm; together with Original Preparatory Pencil and Watercolour Sketch Squared for transfer, dated 30th December 1997, 15cm by 21cm (2) Painting contained within the artist's original hand painted frame. Claude Harrison studied at Preston School of Art 1939-41, Liverpool School of Art 1941-42, and the RCA 1947-50. He had numerous solo shows including Contemporary Fine Art Gallery, Eton, 1992. He exhibited regularly at the R.A., the R.P. and in group exhibitions, and has held solo exhibitions in Europe and the USA. His work is represented in public and private collections. He is married to Audrey Johnson (see lot 1407). See illustration

Brenda Rolton - 'Rose in Green Glass', watercolour, signed and dated 1985, together with a similar painting by the same hand.

Nigel Hillard, late 20th century- Harbour scene; oil on board, signed and dated 1973, 25x34cm: E B Watts, late 20th century- Sheep; watercolour, signed and dated 68: British School 19/20th century- "Cromer"; watercolour, signed and titled: together with a Chinese rice painting depicting a woman, (4) (may be subject to Droit de Suite)

An Indian Miniature Painting, Mandi School 18th century, depicting Krishna enthroned with two attendant Gopis, opaque watercolour on paper, 11.7x16.3cm: together with one other Indian miniature painting, Kangra School 19th century, depicting Radha and Krishna in a forest by night, 19.5x12cm., (2)

Railway painting: watercolour and gouache Great Western passenger train travelling the coast line, framed and glazed 650mm by 530mm

Indian painting of a bird of prey, within a decorative border, unsigned, watercolour, PROVENANCE: Thetis Blacker. h: 11.50 x w: 8.50 in.

A pair of lithographs after Sylvester Stannard of cottages, 10" x 17", together with a further 19th Century watercolour of a lake with mountains beyond, 11" x 19 1/2" and a small oil painting of a river, 9 1/2" x 13 1/2".

WILLIAM RICHARDSON - Roslin Chapel, a watercolour study for a painting exhibited to the Royal Academy 1847, 7 1/2" x 9", framed.

An oil painting, fishing boats setting out, 28cm by 48cm; together with a print of poppies; H Howell, watercolour of a landscape; Ian Clark 86, Lichens

Five books on the Pre-Raphaelites and Victorian art comprising; The Pre-Raphaelties Tate Gallery, The Pre-Raphaelites by Christopher Wood, Victorian Painting by Jeremy Maas, The Dictionary of British Watercolour Artists up to 1920, and Burne-Jones by Martin Harrison and Bill Waters.

T H PIKES; "Seaford", Oil Painting, 10 1/2" (26cms) x 7 1/2" (19cms) signed and dated 1923 and T ALLATT; watercolour of an Eastern scene, 8 3/4" (22cms) x 5 1/2" (14cms) signed and dated 1920.

An Indian Miniature Painting, Kangra School 19th Century, depicting Krishna and Radha seated on a terrace, feigned oval, intertwined floral border on blue ground, black lined outer edge, opaque watercolour and gold on paper, 26.5x22cm