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

David I Cox (British 1783 - 1859) Khymer Abbey, North Wales, signed and dated 1849 lower left, watercolour, 22 x 32 cm, frame 43 x 52 cmProvenance: Collection of Peter Roberts, label verso for Charles Nicholls & Son, ManchesterFootnote:Paul Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and Michael Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious damage or losses, surface appears stable no obvious deterioration. Paint surface well preserved, colours good, some minor fade, surface stable. Frame has solid joints, general wear and tear including small loss to surface lower left.

Cox, David (1783 - 1859) Shipping in a Squall, signed and dated 1830 lower left, watercolour,13 x 22 cm, frame 34 x 43 cmProvenance: Collection of Peter Roberts, purchased from The Swan Gallery, DorsetFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious losses or damage. There is some minor ageing (browning) of the paper. The paint surface appears well preserved and stable. Frame general wear and tear

Peter de Wint (1784 - 1849) Lincoln Cathedral from the Castle Moat, watercolour, 22 x 32 cm, frame 41 x 50 cmExhibited: London, Fry Gallery and Brighton Museum and Art Gallery, Peter de Wint (1784-1849), Bicentenary Loan Exhibition, 12th November 1984-13th January 1985, number 5. Published in the exhibition catalogue.Provenance: collection of Peter Roberts, label verso for Guy Peppiatt Fine Art Ltd, LondonFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet is in good condition, no obvious evidence for tears, creasing or losses, the surface appears stable no obvious deterioration. The paint surface is well preserved and appears stable. The frame has solid joints and some minor wear and tear.

Paul Sandby R.A. (1725 – 1809) Farm Waggon, pencil and watercolour wash, 15 x 12 cm, frame 39 x 37 cm,Provenance: Artist's studio, by descent to William Arnold Sandby (1825-1904), by descent to cousin G.J.A. Peake, to his son Hubert Peake. Peake's collection dispersal of Sandby collection at Christies 24 & 26th May 1959, bought and sold by Palser Gallery, private collection of Miss Chadwick, Stratford-upon-Avon, sold in dispersal sale of Chadwick's collection Barnard & Dobson Auctioneers 1963 lot 123, personal collection Miss Elizabeth Creak, private collection of Peter Roberts. A letter from Barnard & Dobson to Miss Creak attached verso.Footnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious deterioration or damage. There are two isolated spots of foxing visible. Minor fade, paint surface otherwise good. Frame good condition, joints solid

Attributed to David I Cox (British 1783 - 1859) Conway Castle, signed and dated 1849, watercolour, 26.5 x 35.5 cm, frame 52 x 60 cmProvenance: collection stamp Peter Roberts, label verso for The Swan Gallery, Dorset, label for The Bowdell GalleriesPeter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious issues. There is some ageing (browning) visible to the paper. Paint condition looks stable, some minor colour fade. Frame general wear and tear

Michael Angelo Rooker (1743- 1801) Buildwas Abbey, Shropshire, signed lower left, watercolour, 23 x 28 cm, frame 45 x 50 cmProvenance: collection of Peter Roberts, purchased from Maurice Edward Dear of Southampton, label verso for The Manning Galleries Ltd, London purchased by John Byng Kenrick, sold at Christies British Art on Paper 5th June 2003 lot 83Footnote: Another version of this painting is located in the collection of the Whitworth Art Gallery, Manchester. There is also an oil version.Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour on paper, framed under glazing, not examined external to the frame. The sheet appears in overall good condition, no obvious evidence for rips, tears or deterioration. There is some general ageing (browning) of the paper- the old mount line is visible to the top of the sheet where it has been reframed. Paint condition appears stable, minor fading. The frame has solid joints, minor wear and tear.

Edward Lear (1812-1888) Canea, Crete, dated 17 April 1864 6.40 pm and titled lower left, watercolour and ink, 21.5 x 34.5 cm, frame 43 x 56 cmProvenance: collection of Peter Roberts, purchased from Maurice Edward Dear, Southampton and label for Craddock & Barnard, LondonFootnote:Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition, no obvious losses or faults, the surface appears stable, no obvious evidence for deterioration. The paint and ink appear well preserved, no obvious losses or deterioration. Overall very good condition. The frame has solid joints, general good condition minor wear and tear

David I Cox (British 1783 - 1859) Cattle and a Drover on a Bridge, watercolour, 26 x 35 cm, frame 49 x 56 cmProvenance: collection of Peter Roberts, purchased from The Swan Gallery, Dorset, label verso for Agnew's, LondonFootnote:Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet is in good condition, no obvious damage or faults, there is some ageing (browning) visible. The paint surface appears well preserved, no obvious issues. Frame has solid joints, general wear and tear.

Anthony Vandyke Copley Fielding (1787-1855), Boats Unloading at the Shore, a castle and town on a hillside beyond, signed and dated 1820 lower left, watercolour, 15 x 25 cm, frame 39 x 49 cmProvenance: Collection of Peter RobertsFootnote:Paul Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet has some minor general ageing, otherwise no obvious faults or evidence for losses etc. Paint surface has some minor colour fade, surface otherwise stable. Frame general wear and tear, joints solid.

Guido Bach (1828-1905) Hylas and a Nymph, signed and dated 1866 lower left, watercolour, 56.5 x 41.5 cm, frame 79 x 62.5 cmProvenance: Deceased Estate, Label verso for Southgate GalleryCondition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet appears in good condition, no obvious losses, tears or deterioration. The colours are well preserved, paint surface appears stable and in overall good condition. Frame has solid joints, minor wear and tear.

David I Cox (British 1783 - 1859) Stokesay Castle, signed lower left, watercolour, 17 x 24 cm, frame 34 x 41 cmProvenance: Collection of Peter Roberts, purchased from The Swann Gallery, DorsetFootnote:Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet is in good condition, no obvious faults or issues, some minor general ageing (browning) visible. Paint condition good, some colour fade, seems stable. Frame solid joints, general wear and tear.

Peter de Wint (1784 - 1849)A Woman on a Donkey returning from Market, watercolour, 30 x 25.5 cm, frame 50 x 44 cmProvenance: Collection of Peter Roberts, purchased from Guy Peppiatt Fine Art, London, sold at Sotheby's 30/06/2005 lot 262 and on 10/10/1974 Lot 78Footnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour on paper, framed under glazing, not examined external to the frame. The sheet appears in good condition, no obvious losses, tears or signs of deterioration. The paint surface appears stable and well preserved, no obvious paint loss. The frame is in good general condition with solid joints.

William Leighton Leitch (British 1804 - 1883) Hilly Landscape in the Campagna, watercolour, 14.3 x 23 cm, frame 41 x 48 cmProvenance: collection of Peter Roberts, purchased from Stuart Boyd Fine Art, old Labels verso for Frost & Reed of Bristol and LondonFootnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet is in good condition, no obvious losses or deterioration. Some minor ageing (yellowing) in the sky. Paint surface is good, colours are well preserved, no obvious issues. Frame has solid joints and some general wear and tear.

David I Cox (British 1783 - 1859) A View of Haddon Hall, signed lower left, watercolour, 12 x 16.5 cm, frame 36 x 41 cmProvenance: collection stamp Peter Roberts, prev collection of Keith and Dorothy Lamb having been gifted by the curator of Birmingham Art GalleryExhibited: David Cox Centenary Exhibition at Birmingham Museum and Art Gallery 1959, no. 41, lent by Keith LambFootnote:Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch. Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears in good condition, no obvious faults. Paint surface is stable and well preserved, colours good. Frame general wear and tear

Charles Edward Brittany, 1870-1949 Watercolour painting of a Gun Dog, some water damage. Gilt and Glazed frame. 34.5 x 29.5cm

A 19th century W J Reeves & Son watercolour painting wooden box, with marble mixing block, water bowl, original paints and pull out draw with six porcelain mixing dishes, label for No.80 Holborn Bridge, London —8 3/4in. (22cm.) wide (box drawer needs glueing, one mixing dish broken)

Three assorted prints of Bristol and a watercolour. Including a painting signed Bill Cheeseman, all framed and glazed, max. 30cm x 23cm

A Chinese watercolour scroll painting, depicting a Chinese Emperor and attendants, within an interior setting, 203cm x 68cm.

WALLER HUGH PATTON RSA RSW (1828-1895) A SUNSET LANDSCAPE, a steam boat wait to depart from a pier while two figures walk along a path with mountains to the distance - possibly a Scottish scene, signed bottom left, watercolour on paper, approximate size 14cm x 20cm, Condition Report: the painting is in good condition, small knocks to the frame

English School C19th, portrait miniature of a young girl with white headscarf, tondo watercolour on card, glazed in gilt metal round frame with ribbon tied surmount, penned verso 'First attempt at miniature painting at a very early age by Lady Columb, G. Columb July 30th 1806'. 5.3cm x 5.3cm

Keith Linsell: a watercolour/gouache scene of a salmon fisherman fishing a weir pool – painting on board, mounted in original period frame with velveteen border, signed by the artist with trade label to rear, 39.5x55cm exc frame. Linsell was ( and remains ) a prolific angling/fish artist and illustrator , being a regular contributor to very many angling publications , including the Angling Times ( used his work extensively from the early 1970`s and for the following 25 years ) and illustrations for over 100 books

Charles Frederick Tunnicliffe (British 1901-1979): Barn Owl, watercolour gouache charcoal and pencil signed, a preparatory sketch for a larger painting 43cm x 66cmProvenance: private collection; with Park Lane Galleries, Poynton, CheshireCondition Report:Excellent condition, ready to hang

Charles Frederick Tunnicliffe (British 1901-1979): Four Swans, watercolour gouache charcoal and pencil signed, a preparatory sketch for a larger painting 66cm x 42cmProvenance: private collection; with Park Lane Galleries, Poynton, CheshireCondition Report:Excellent condition, ready to hang

A small Victorian watercolour depicting a dark-haired King Charles cavalier with a large, blue, silk ribbon in a circular mount, painting diameter 16.5cm approx, frame 31x31cm, no artist's signatureApprox 1 pieces

For the LOVERS of SCOTTISH BORDERS ARTISTS and ARTWORKS! An original watercolour painting by an artist with surname ROSS of the Eildon Hills. Size of painting measures approx. 51cm in length x 19cm in height. Gilt frame measures approx. 66cm in length x 33cm in height.Approx 1 pieces

A framed watercolour depicting a blackbird in flight by artist RALSTON GUDGEON (1910-1984), painting size 15"H x 11" W, frame size 26"H x 20"WApprox 1 pieces

Leonardo da Vinci. A Treatise on Painting, first edition in English, London: J. Senex & W. Taylor, 1721. Engraved frontispiece, title page printed in red & black, 35 engraved plates, five of which are folding, pp. [xviii], 189, 16pp. index, 3pp. publisher's advertisements. Octavo, worn panelled calf, ffep featuring mounted grisaille watercolour portrait of Leonardo da Vinci, captioned as 'a camera sketch from a large & authentic Print', the verso with manuscript notes, a 'Remark, on Pictures at Osmaston'. Contents very well-preserved & bright, a few folded corners and small marks in places, contemporary owner inscriptions and handling marks on title, binding worn with upper board detachedThe first edition in English of the influential Trattato della pittura, compiled from numerous manuscripts after Leonardo's death

A Victorian 19th century gilt wood cassetta frame with original watercolour and pastel on paper painting, together with a later early 20th century molded wooden frame with red detailing. Largest measuring approx. 30 x 35cm. 

William James Muller (British, 1812-1845) - A 19th Century sepia wash watercolour painting landscape scene depicting a building in bleak landscape with single tree arching towards the centre. Framed and glazed. Measures approx. 43cm x 50cm.

Jack Green (British school, 20th century) - a twentieth century watercolour painting depicting a harbour in Scotland, with boats and a village to the right hand side. Label to verso reads 'Staithes Harbour - a watercolour by Jack Green 1992'. Measures approx. 53cm x 34cm, 67cm x 54cm to include frame.

Manner of David Cox, OWS (1783-1859) Travellers on a blustery woodland track inscribed 'D. Cox 1836'oil on canvas33 x 48cmThe present watercolour is closely related to David Cox's oil painting, Outskirts of a Wood, with Gypsies, dated to 1843, oil on canvas, 69.8 x 90.2cm (see Stephen Wildman, 'David Cox as an Oil Painter', in Sun, Wind, and Rain: The Art of David Cox, Yale Center for British Art, 2008, p. 117).

John William SALTER (1825-1891) Ansty's Cove, Babbacombe, Devon Watercolour, signed and dated 1874, 29x46.5cmWe have not examined this painting out of its frame, the paper appears to be a little yellowed and there are a few spots of very minor foxing and some pitting to the lower left corner of the work (please see images).

Anton HEIJBOER (1924-2005) 'Chicken'A painting, watercolour on paper.Dimensions:(W:60 x H:68 cm)

MARY FEDDEN RA (BRITISH 1915-2012) FRED BY MOONLIGHTsigned and dated Fedden '01 lower leftgouache and watercolour 18.5 x 16.5cm; 7 1/4 x 6 1/2in28 x 26cm; 11 x 10 1/4in (framed)Property from a LadyProvenance: David Messum Fine Art, LondonPurchased from the above by the father of the present ownerChiswick resident Mary Fedden was a regular visitor to Suffolk, where she enjoyed painting the coastline and attending the Aldeburgh Festival. The present subject was one of the most photographed boats on the Suffolk coast: a traditional wooden fishing smack. On its stern are the words (abbreviated with artistic licence) Fred’s Dunwich, Lowestoft. Contemporary photos show that the full name was Fred’s Last, Dunwich, Lowestoft, and was, according to Jane Hamilton, manager of Dunwich Museum, 'a longstanding feature on Dunwich beach', describing the boats as 'good examples of post-war inshore boats used at Dunwich.' Last is a common name in Suffolk. According to Elizabeth Walne, a qualified genealogist based in East Anglia 'You can’t go far in Suffolk without bumping into one'. Although Jane Hamilton quips that '...as it's Fred's Last, more likely it was 'Fred's last boat'.' Either way, under the serenity of a full moon, Mary Fedden captured the hulking form of a rapidly vanishing way of life in which you can almost smell the fresh seabreeze.ARR may apply

A collection of oils and watercolours to include two Greek School oils, watercolour still life by Harry Morton Colville, Japanese ink calligraphy painting, an Arian Hill still life and another of a jazz band

A mixed lot of pictures, prints and a wooden fire screen to include Annie Francis Jacoley? - The Elopement overtaken, watercolour, signed and dated Piniocit 1904, watercolour of HMS Caradoe, signed G Byron 'Caradoc' oil painting of sailing vessels in battle, signed with monogram, in gilt frame, framed The Battle of Waterloo Wills cigarette cards set, and other itemsLocation:

A JAPANESE WATERCOLOUR PAINTING OF FISH, inscribed and with red seal, framed and glazed, 30.5cm x 41cm.

PIETRO BELLO (1830-1909): A TURKISH WATERCOLOUR PAINTING OF AN ISTANBUL COASTAL SCENE, signed and dated 1891, mounted; unframed, image 27cm x 42.5cm.

ALBERT GOODWIN (BRITISH 1845-1932)TOMBS OF THE MAMMELUKS, CAIROPen and ink, pastel and watercolour, heightened with whiteSigned (lower right) and inscribed as titled (lower left) 25 x 35cm (9¾ x 13¾ in.)UnframedProvenance:Davis Green, and by descentDavis Green (1880-1931) was a keen collector of works by Albert Goodwin as well as Alfred East and other artists. Many pictures were hung at his home in Wolverhampton, but most of the present collection of Goodwins were kept in an album, never to see the light of day until this auction, so hence their remarkably fresh condition. Davis Green was a successful businessman who, along with his brother Walford (former Conservative MP for Wednesbury 1895-1906), owned the engineering company Lockerbie and Wilkinson in Birmingham. Their most well known product was the penny in the door public toilet door lock that led to the phrase "spend a penny". The very successful business made it possible for him to indulge his passion for collecting art as well as furniture and rugs from the East. Albert Goodwin (1845 -1932) was a British landscape painter best known for his watercolours. As a pupil of Ford Madox Brown (1821-1893), and Arthur Hughes (1832 -1915), and a friend of John Ruskin (1819-1900), his works show the influence of both J.M.W Turner (1775-1851) and the Pre-Raphaelite Brotherhood.In 1860, at just 15 years of age, Goodwin exhibited his first painting at the Royal Academy. Aged 31, he became an associate member of the Royal Watercolour Society (RWS) in 1876. As well as travelling around Europe with the art critic John Ruskin, Goodwin spent much of his career abroad including trips to India, the Middle East as well as to Canada with his nephew, the artist (Paul) Sidney Goodwin (1875-1944) in 1890.Working well into his eighties, Goodwin was a prolific artist and produced over 800 paintings. The wide variety of landscapes that he produced reflect his love of landscape and travel. The style in which the artist worked clearly reflects his admiration for Turner by whom he was strongly influenced.The group of works offered here includes a large cross section of landscapes from the UK, Europe, India and the Middle East , from northern scenes of Bambrough and Whitby, to the Southern coasts of Dorset and Somerset, along the Mediterranean coastlines of Monaco and Amalfi, Goodwin's landscapes record an important insight into late Victorian social history.The Maidstone Museum and Art Gallery have the largest public collection of Goodwin's work.Condition Report: The sheet has been laid down at the four corners with adhesive. There is a vertical folding crease running down the far left edge. One or two small pin holes to the upper margins. Some light surface dirt and scratching throughout the sheet. There is an area of skinning to the middle right edge (approx. 5cm). Colours appear good and there is little discolouration to the sheet.Condition Report Disclaimer

Winifred Bourne Medway (1882-1969) - A 20th century watercolour portrait study painting entitled 'Woman With her Favourite Umbrella' to depict a society woman wearing a trimmed hat upholding an umbrella. Signed in pencil to lower left corner. Framed and glazed. Measures 36cm x 34cm.

Douglas Pinder (1886-1949) An early 20th Century signed Douglas Pinder Cornish watercolour seascape. The painting to depict a Cornish cove as viewed from high above. Framed and glazed. Measurements approx width 51cm x length 33cm. 

Burmese school, 1935 'On the way of desire', watercolour on paper, inscribed in sanskrit and dated 1935, title also inscribed on the verso, mounted glazed and framed, painting 37 x 26 cm.Provenance: Soames County Auctioneers, Northmoor, Witney, Sale on 2 July 2005, Lot 210. 

P. Conway (British): one framed and one unframed monochrome gouache and watercolour painting of street scenes, unframed 41 x 35cm.

An Indian portrait miniature, circa 1860, depicting Mumtaz Mahal, later mounted by Marcus & Co., the glazed oval portrait, watercolour on ivory, depicting the Empress in half profile, adorned in fine clothes and elaborate jewels, set against a red draped curtain, the portrait later gold mounted and within a frame of scrolling decoration highlighted in white enamel, with half pearl detail, the reverse stamped ‘MARCUS & CO.’, on hinged pendant fitting, length (excluding pendant fitting) 6cm. £1,200-£1,500 Please refer to Jewellery Department for Ivory Licence No. --- MumtÄz Mahal 1593-1631) was born Arjumand Banu Begum, in Agra, Northern India, the daughter of a noble Persian family, her father Abu’l-Hasan Asaf Kahan held high office in the Mughal Empire, and her aunt Empress Nur JahÄn, was the chief wife of Emperor Jahangir. MumtÄz was betrothed at the age of 15 to Shah JahÄn, the young Prince Khurram, becoming his second wife five years later in 1612. They had a loving marriage, with Mumtaz being the beloved favourite of his three wives. She was his constant companion and confidant. She was reputed to be talented and cultured, well versed in Arabic and Persian languages, and of a modest disposition. Contemporary poets extolled her beauty, grace and compassion. Upon his accession to the throne in 1628, Shah Jahan designated Mumtaz as his chief Empress with the title of Padshah Begum '(First Lady or Queen of the Great)’, also bestowing upon her the exceptional right to the imperial seal Muhr Uzaz. In their 19 years of marriage, they had 14 children together. MumtÄz tragically died during the birth of her 14th child in 1631. After her death the Emperor was reportedly inconsolable, going into secluded mourning for a year. Chroniclers recorded that he did not wear bright clothing, jewellery or perfume for more than two years. Very slowly he returned to public life, his hair now white, his back bent from grief. In the same year as MumtÄz’s death, he commissioned the building of the great Taj Mahal, as a magnificent mausoleum to his wife, a mission of love that would take 17 years to build and most of the Emperor’s wealth. The English poet Sir Edwin Arnold described the Taj Mahal as "Not a piece of architecture, as other buildings are, but the proud passion of an emperor's love wrought in living stones”. * * * As with other Mughal royal ladies, no contemporary likenesses are known but imagined portraits were created from the 19th century onwards. See: Miniature painting, watercolour on ivory, titled Portrait of a lady, Delhi, Ca 1860. Bibliographic Reference: Mildred Archer: Company Paintings Indian Paintings of the British period, Victoria and Albert Museum, Indian Series, Maplin Publishing 1992, p 221. * * * The New York jewellers Marcus & Co. were founded in 1892, famous for their enamel work, skills originating from their founder Hermann Marcus from Dresden, who had worked with Court Jewellers Ellemeyers prior to emigrating to New York in the 1850s. Today Marcus & Co. are considered one of the outstanding early 20th century American jewellers. Condition Report Some areas of wear and spotting to the white enamel border. Scratched retailer’s stock number to the reverse, below pin hinge. Overall very good condition. Gross weight 31.1gm.

A late 19th or earl 20th century Chinese painting, ink and watercolour on silk, of two children, one playing on a hobby horse under the shade offered by the lotus leaf being held by the other, black calligraphic inscription and red seal mark to the top right corner, image size 116.5 cm w x 18 cm h - framed and glazed, probably late Qing period

A BOX AND LOOSE PAINTINGS AND PRINTS ETC, to include portrait of a female figure wearing a brown dress circa 1940s, indistinctly signed, watercolour on paper, approximate size 43cm x 34cm, a watercolour / gouache depicting figures working in a dockyard, indistinctly signed and dated (19)18, approximate size 18cm x 15cm, A.W. Ross oil on board landscape, an indistinctly signed oil on board depicting a fishing trawler at sea, assorted landscape painting - various signatures, African paintings on fabric signed A Missi, signed limited edition Gordon King print, assorted other prints etc

Thomas James Lloyd (1849-1910), Watercolour Painting on Panel Image Size: 16 by 28 in. (40.6 by 71.1 cm.) All measurements are approximate. Signed (lower right) Thomas James Lloyd (1849-1910) was an English painter known for his landscape and marine paintings. He trained at the Royal Academy Schools in London and later exhibited his works at the Royal Academy and the Royal Society of British Artists. Lloyd's paintings were characterized by their naturalistic style and use of light and shadow, which captured the beauty and mood of the English countryside and coastline. He was also skilled at depicting the dramatic effects of weather and light on the sea. Lloyd's works can be found in collections around the world, including the Tate Britain in London and the National Gallery of Victoria in Melbourne. His legacy as a talented painter continues to be celebrated today. Please read our policy carefully: 1. All items are sold AS-IS, where is with all faults. We do not accept returns or refunds. All sales are final. 2. We will pack and arrange all shipments via UPS. Shipping costs to US address starts with 30 USD and 180 USD to International (depends on size and weight of the package). Packages should be shipped within two weeks after payment is received. Larger packages and international delivery may exceed this period. 3. Your bids signify that you have examined the items as fully as you desire, or that you have chosen not to examine them. Images descriptions are our opinions and should in no way be construed as a guarantee of any kind as to authorship, age, condition, materials, provenance or any other feature of items being sold. 4. If the bidder refuses to pay for the invoice after the successful bidding, the liquidated damages shall be 30% of the amount of the hammer price, which shall be responsible by the buyer.

Lovely Watercolour Painting of Burnsall Yorkshire Dales, by Barry Claughton (1935-)

Worsleys little drawing book, painting Watercolours GF Phillips study of Landscapes, James Gibbs, LJM Dagguerre 1956, Course of watercolour painting & others, Elegant Art for Ladies, English Chintz - Lewis etc.

Holocaust Survivor Irene Awret Original Watercolour Fishing Boats Old Akko Harbour. Irene Awret original watercolour of fishing boats probably in Old Akko harbour Israel. Signed I Awret lower right. Framed and glazed the actual painting measures 50cm by 34cm. The frame 60cm by 45cm. The painted white frame is worn. Irene Awret was born to a Jewish family in Berlin called Spicker, the youngest of three children. Her mother died in 1927, when Irene was six years old. In 1937 she was forced to stop high school, due to the Nazi race laws. Because she could not continue her regular studies, her father sent her to study drawing, painting and art restoration with a Jewish painter. Among his students were a large number of German Jews who knew they would have to leave Germany within a short time and would require a profession to enable them to support themselves.

Assorted paintings and prints, including a Chinese watercolour, an Indian painting, etc.

H Bailey, Heath and woodland landscape with rabbits, watercolour painting, signed and dated 1913, 27cm x 38cm, framed and glazed

Henry Earp Senior (1831-1914) - "Bolton Abbey" extensive landscape, Abbey in the distance, figures in the foreground. Watercolour painting, signed, see label to reverse. 25cm x 36cm, gilt framed, mounted and glazed

§ JOHN DUNCAN FERGUSSON R.B.A. (SCOTTISH 1874-1961) SUPPER DANCE Inscribed by Margaret Morris 'J. D. Fergusson / Early Café drawing 1902 / with love & blessings / from Meg & Fergus / Glasgow May 1965' on the backboard, watercolour, brush and ink on paperDimensions:45cm x 31cm (17.75in x 12.25in)Provenance:Provenance:Given by Margaret Morris to James and Martha Arnott in 1965 and thence by descent to the present ownerExhibited:The Fine Art Society Ltd, London, John Duncan Fergusson (1874-1961): A Centenary Exhibition, 10 September-4 October 1974 and tour to Kelvingrove Art Gallery and Museum, Glasgow and The Fine Art Society Ltd, Edinburgh , no.114The Scottish Arts Council Gallery, Edinburgh, The Need to Draw: 20th-Century Scottish Artists at Work, 22 November-14 December 1975, no.22Scottish National Gallery of Modern Art, Edinburgh, The Scottish Colourist Series: J. D. Fergusson, 7 December 2013-15 June 2014Literature:Jean Geddes and Margaret Morris, Café Drawings in Edwardian Paris from the Sketch-books of J. D. Fergusson, Blackie, Glasgow, 1974, repr. b/w p. 25Note: Note: John Duncan Fergusson and Margaret Morris first met Martha Lawrence Grant (1916-96) when the latter attended Morris’s dance classes in Glasgow in the 1930s. She became a vital figure in Margaret Morris Movement (MMM) and was in the process of establishing an MMM school in Aberdeen when World War Two began. At that point, Fergusson was primarily based in Paris, whilst Morris spent most of her time in London; the conflict resulted in their move to 4 Clouston Street, Glasgow.Fergus and Meg, as they were affectionately known, galvanised the city’s art scene. They were founder members of the New Art Club in 1940, which aimed to stimulate debate and to create affordable exhibiting opportunities. Two years later, Fergusson became founding President of the Club’s successor, the New Scottish Group, which staged eight exhibitions of its members’ work between 1943 and 1956.It is believed that Martha met James Fullarton Arnott (1914-82) through the New Art Club. James was an Assistant Lecturer in the English Department at the University of Glasgow, where he was to become Emeritus Professor of Drama. The couple formed a lifelong creative friendship with Fergus and Meg and were married in 1945. Their son Alan was born in 1948 and he has recalled:The impact of Fergus and Meg on the artistic life of post-war Glasgow, and indeed Scotland, was immense. Painters, sculptors, potters, designers, dancers, actors and musicians all thrived in the atmosphere of post-war Glasgow. While Meg and Fergus provided the artistic inspiration, Mum and Dad provided backing, encouragement and support. During James’s illustrious career, he devised the Drama course at the re-opened Royal Scottish Academy of Music and Drama (RSAMD) and in 1966 was appointed the first Head of the Drama Department at the University of Glasgow. Martha helped to establish and run the RSAMD Library, as well as designing and creating costumes for Academy and University productions.With his knowledge of arts funding and art world contacts, James provided vital support in Meg’s launching of the Celtic Ballet, Scottish National Ballet and Scottish Ballet companies. In her turn, Martha taught and danced at MMM Summer Schools and sat for Fergus, not least sharing modelling duties with Meg for his Glasgow-era masterpiece Danu, Mother of the Gods of 1952, now in The Fergusson Gallery, Perth.Alan has further explained:We holidayed in the South of France with them both in the 50s and with Meg in the 60s. They lived in Glasgow (in the West End) and were regular visitors to our houses in Saltcoats and then Glasgow – and we frequently visited them.Following Fergus’s death in 1961, Meg established the J. D. Fergusson Art Foundation to secure his legacy and to support living artists. Martha and James were founding committee members and Alan succeeded James on the committee in 1983. The Foundation’s aims were achieved with the opening of The Fergusson Gallery in Perth in 1992 and the launch of the J. D. Fergusson Arts Award Trust in 1995.Supper Dance (Lot 149) and Kelvin Valley (Lot 148) pay testament to this creative friendship. Both were given to the Arnotts by Meg in the 1960s and are beautiful examples from key periods in Fergus’s career. In 1907, he took the momentous decision to move from Edinburgh to Paris, which he described as ‘simply a place of freedom’. He immersed himself in the artistic, intellectual and social life of the French capital and made his reputation as a leading artist of the twentieth century during the six years he lived there before World War One. He particularly revelled in its bustling café and restaurant scene and Supper Dance is a beautifully accomplished image of the fashionable clientele whom Fergus enjoyed capturing in images of elegance and movement. His fluid draughtsmanship is clear in passages such as the realisation of the female dancer’s gown, whilst a lively composition leads the eye from the champagne in the foreground, to the dancing couple, to another observed in intimate conversation in the background.Kelvin Valley is a jewel of a painting, in which Fergus pays homage to the city which was the location for the final chapter of his international career. The Clouston Street flat overlooked Glasgow’s Botanic Gardens and was joined, via the River Kelvin, to Kelvingrove Park; these green spaces provided inspiration for the artist’s late, lyrical landscapes. He developed a distinct ‘Glasgow palette’ characterised by high-toned shades of green and pink, which were delicately and deftly applied to their supports in a gentle yet confident finale to the images of Princes Street Gardens, the Scottish Highlands and the South of France which preceded them.As Alan has concluded:Fergus was a lovely man. He treated children the same as everyone else and encouraged me to draw. Meg was full of life and energy and retained the strength and grace of a 20-year-old. There was great love and generosity of spirit amongst us all.

DAVID GAULD R.S.A. (SCOTTISH 1865-1936) ELEGANT FIGURES IN THE STREET, CHELTENHAM Signed and inscribed, pen and ink and watercolourDimensions:35cm x 25cm (13.75in x 9.75in)Provenance:Provenance: The Glasgow Art ClubNote: Note: David Gauld is best known for his depictions of sun-dappled cattle in byres or Ayrshire fields. However, in his early career Gauld was an innovator within the radical group of artists known as the Glasgow Boys. Gauld trained at the Glasgow School of Art between 1882 and 1885. In the late 1880s he made a name for himself as an illustrator for The Glasgow Weekly Citizen. It was during his time sharing a studio with fellow artist Harrington Mann (1864-1937) and then at 351 Renfrew Street that he honed his painting. As an artist he was immersed in the city’s artistic community - an apprenticeship with Stephen Adam taught him skills in stained glass and later a close friendship with Charles Rennie Mackintosh (1868-1928) linked him with the applied arts. In the late 1930s he was appointed Director of Design at the Glasgow School of Art.Elegant Figures in the Street, Cheltenham is an extremely rare work showing both the artist’s ability in watercolour and his skilled draughtsmanship at the turn of the century. Gauld was familiar with figurative work, during the 1890s he painted stylised portraits with exuberant paint handling and strong use of colour (see The New Bonnet sold by Lyon & Turnbull on 31 May 2012, lot 133).Although the figures in Elegant Figures in the Street, Cheltenham are not identified they may well be friends of the artist and members of the art world. A companion work Broadway (National Galleries of Scotland, PG2704) depicts the artist couple Robert Macaulay Stevenson and Stansmore Macaulay Stevenson (née Dean), alongside Margaret Gauld (née Paterson). Much like Gauld’s figurative stained glass and early work in oil painting, this watercolour has a strong narrative comparable to the social reflection done by other members of the Glasgow School – notably the figurative work by E. A. Walton and Sir John Lavery of the Helensburgh bourgeoisie in the late 1880s. The Eastern influence in the flat composition and the opacity of colour draws from the highly fashionable Japanese print at the end of the nineteenth century. The work can also be closely associated with the artist’s own preparatory cartoons for stained glass window designs.Gauld enjoyed membership of the illustrious Glasgow Art Club and it is thought that the work was gifted by his widow to the Club on his death.

CHARLES CORDINER (SCOTTISH 1746-1794) THE BRIDGE OF ALVAH, BANFF Oil on canvasDimensions:56cm x 94cm (22in x 37in)Provenance:Cordiner studied at Foulis Academy in Glasgow between 1763 and 1766 before becoming an Episcopal minister in Banff. Whilst there Cordiner established a considerable reputation as an artist and received commissions to paint local views in oil and watercolour. This painting shows the grounds of Duff House owned by the Earl of Fife. He commissioned a gouache of the same subject which hung above the fireplace at Rothiemay, one of his homes, which is illustrated in Paul Harris and Julian Halsby, The Dictionary of Scottish Painters, Canongate, Edinburgh, 1990, p.37.

An Indian miniature watercolour painting, 19th century copy of a 16th century original by Govardhan, depicting Dervish leading a bear within a border of panelled script, framed by gilt foliate decoration on a black ground, 30.5cm x 21cm, together with an Indian watercolour painting depicting an emperor on horseback, 30.2cm x 27cm, both unframed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

An Indian Mughal School miniature watercolour and gilt painting, 19th century, depicting Shah Jahan hunting deer in a hillside landscape, flanked by bands of script within a floral surround, 22.5cm x 37.5cm, unframed, together with another Indian watercolour depicting Krishna and his consort Radha accompanied by two female attendants in the grounds of a lakeside palace complex, 19cm x 28cm (torn and stained).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Chinese watercolour painting on paper fan panel, early 20th century, painted with two geese and reeds, two lines of black text and red seal to left margin, length 27.8cm, mounted on silk, together with a collection of other paintings and prints, including four other fan panels and two Japanese woodblock prints, unframed.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Alelier Brela, Croatia, a reverse painting on glass, local scene, with artist's verso, bought from the artist in the Hotel Meteor, Makarska Croatia 1998, 29cm x 39cm overall, gilt-framed, S Noble, watercolour, still life bulrushes, and another by the same artist (3)