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English School (19th century) Watercolour painting of an elderly lady cleaning the street outside cottage.  Signed with monogram to the corner with artists initials SHM. Framed and glazed. Measures approx. 25cm x 35cm, frame 43cm x 53cm.

John White RI (British 1851-1933) 19th century Cornish School watercolour painting of a Cornish village street scene having the Admiral Rodney pub with woman and cat in street. Signed in the corner. Framed and glazed. Measures 24cm  x 45cm; frame measuring 49 x 71cm.

A group of art reference books, to include Wood (Christopher) The Dictionary of Victorian Artists, Waterhouse (Ellis) The Dictionary of 16th and 17th Century British Painters, Dictionary of Sea Painters, British Watercolour Artists up to 1920, further works relating to British Painting, Watercolourists, etc. (1 shelf)

Sayed Haider Raza (Indian, 1922-2016)Three Bridges signed 'S H Raza' lower right, circa 1950s; further inscribed in pencil 'S.H. RAZA. / 'THREE BRIDGES' / 150 / Rs 1201 / 166/0267 / 1031/ Mrs. E.P. SAMPLES / 1031' (on the reverse)gouache and oil on paper, framed43 x 57.8cm (16 15/16 x 22 3/4in).Footnotes:ProvenanceProperty from a private collection, Canada. Acquired from the artist by a Commonwealth Relations Officer, Reginald McCartney Samples and his wife, Elsie Samples in Bombay, India in the early 1950s; Thence by descent.This work will be included in the forthcoming catalogue raisonné SH RAZA, Early Works (1940 – 1957) by Anne Macklin on behalf of The Raza Foundation, New Delhi.Reginald McCartney ('MAC') Samples (1918-2009) was the only son of Jessie McCartney and William Samples of Liverpool, England and Rhyl, North Wales. Born in Liverpool, MAC served in the Fleet Air Arm during WWII (1940-1946) and was awarded the D.S.O (Distinguished Service Order) in 1942 for conspicuous gallantry, by King George VI at Buckingham Palace. At the end of the war, MAC returned to university and undertook a short refresher course in economics. In 1947, he joined the Central Office of Information as Economics Editor of Overseas Newspapers, and in 1948 transferred to the Commonwealth Relations office. Soon after, he was posted as Economic Information Officer to the British Deputy High Commission in Bombay, India, where he stayed for a few years, before moving to New Delhi, India and then Karachi, Pakistan in 1956. In 1959 he was transferred to Ottawa, Canada, as Director, British Information Service and was appointed an Officer of the Order of the British Empire (OBE) in 1963. He moved again, back to New Delhi, India as Head of the British Information Service, before being transferred to London as Assistant Under-Secretary of State Commonwealth Office. Finally, he returned to Canada where he settled in Toronto with his family. After retiring from the British Diplomatic Service in 1978, MAC joined the Royal Ontario Museum as Development officer and then as Assistant Director. He was active in the cultural life of Toronto, serving on the Board of Directors of the Canadian Scottish Philharmonic Foundation, the Canadian Aldeburgh Foundation, and the National Ballet of Canada. He was also a volunteer reader at the Canadian National Institute for the Blind, where he was the recipient for the best recorded book of the year in 1991. A wonderful raconteur, he loved a party and could enthral listeners with stories drawn from his wide experience of the world. (Reginald Samples Obituary, , 7th–8th August 2009, https://www.legacy.com/ca/obituaries/theglobeandmail/name/reginald-samples-obituary?id=41565773.)The present lot is inscribed 'Mrs E.P Samples' on a small card on the reverse and was acquired by Mac and his wife Elsie during their stay in Bombay from Raza, possibly from the artists 1950 solo show. When Raza obtained a scholarship from the French government to study art in 1950, both Mac and Elsie bid farewell to Raza when the artist left for Marseilles, France. They were avid collectors and acquired works by Raza, Husain, and Jamini Roy, all of which have previously featured in Bonhams' auctions. Their other Raza, a Street Scene, was also a gouache and oil on paper and sold as lot 320 in Bonhams' 13th October 2005, auction and was featured in Vision in Art (6), a review of his solo show in 1950.Unlike the Street Scene, the Raza offered in this sale is titled 'Three Bridges' and depicts a beautiful townscape, likely Srinagar in Kashmir, connected by three bridges. Whilst the exact location is unidentified, Raza was known to have painted over a hundred watercolours in Kashmir, during his three-month sojourn to the region. (R.V.L, , The Times of India, 23rd October 1948, p.48). What makes this watercolour fascinating is that Raza has focussed on bridges to construct the painting rather than the common subject of mountains or lakes. This composition appears in other works, like those included in the 2022 exhibition catalogue for the exhibition held at the Jehangir Nicholson Art Foundation.The success of Raza's work is manifold. While it is aesthetically appealing, it is also subdued, an effect achieved through the limited use of colour. Blues, whites, yellows, and greens take centre stage in this work, whilst the smattering of pinks, concentrated in the foreground enable us to differentiate between the three distinct sections of the work. Additionally, the composition, divided in three sections, draws the viewers gaze to meander along with the undulation of the river. These sections represent a harmonious use of geometry, typical of his early works. All three sections appear to have been created using various triangular structures, with the bridge farthest away from the viewer as the vanishing point. Raza's success with his work is manifold. It is aesthetically appealing and draws the viewers gaze to meander along with the undulation of the river. But, it is also subdued, an effect achieved through the limited use of colour. Blues, whites, yellows and greens take centre stage in this work, whilst the smattering of pinks, concentrated in the foreground enable us to differentiate between the three distinct sections of the work. These three sections are in harmony, and we can see the early examples of his use of geometry. All three sections appear to have been created using various triangular structures, and the bridge farthest away from the viewer appears to be a vanishing point. His delicate brushwork and the use of shadow and light creates depth and dimensionality whilst the frenetic strokes used to create the foliage create the dynamism and energy warranted by this scene. With this work, Raza has captured the essence of this place. The composition metamorphoses into a harmonious and seamless entity, which dissolve into one another, much like flowing water and is therefore both lively and nuanced. Bonhams extends their gratitude to Ann and Connor Macklin from the Raza Foundation for their assistance in cataloguing this lot.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Anwar Jalal Shemza (British Pakistani, 1928-1985)Chessmen signed and dated in Urdu 'Shemza 1965' upper leftoil on canvas, framed70 x 34.2cm (27 9/16 x 13 7/16in).Footnotes:ProvenanceProperty from a private collection, Pakistan.Acquired from the Collection of Mr Hamid Khawaja in 2019, who acquired the work in London in 1980.From 14th January – 16th April 2023, Wolverhampton Art Gallery in the UK held an exhibition titled, Shemza Digital: Across Generations. The show celebrated and drew parallels between the abstract works of Anwar Jalal Shemza and the contemporary digital practise of his granddaughter, Aphra Shemza. Featured in this exhibition were works from both the Estate of Anwar Jalal Shemza and those from the Wolverhampton Collection. The breath of works displayed were produced in the UK and spanned from 1957-1969 and can be described as some of the most important works from his oeuvre. One of the works featured in the exhibition came from his renowned Chessmen series, and was a gouache and watercolour on paper, dating from 1968. The oil on canvas in the present lot is also part of the abovementioned series, executed in 1965. Anwar Jalal Shemza was born in Shimla, India to Kashmiri and Punjabi parents. Following the creation of Pakistan in 1947, a young Shemza relocated to Lahore, Pakistan, where he continued his education at the Mayo School of Art, before relocating again, this time to the UK in 1956, where he studied at the Slade School of Art. His constant relocations were traumatic, not least because he lost numerous family members during Partition, but also because despite having been a renowned artist in Pakistan, his works were not well received in the UK. He had to reinvent himself as an artist, and the works produced in the aftermath of his reinvention would continually explore the themes of identity, migration, and cultural hybridity. The present lot was created when Shemza taught art at the Ounsdale (Wombourne) High School (1963-1979) in Wolverhampton. It was during this period that he developed his signature style, which blended elements of Islamic calligraphy with abstract modernist forms. This can be seen in the series titled 'Square Compositions,' 'Circles and Semicircles,' and 'Meem.' What makes the Chessmen series particularly important is that it marks a significant departure from these earlier works, which were mostly abstract and focussed on geometry and calligraphy. Instead, this series introduced figurative elements, specifically chess pieces, into Shemza's work, creating a unique blend of abstraction and representation. This series was an exploration of the themes of power, hierarchy, and identity, and he used the pieces to comment on themes in relation to colonialism and imperialism. Having had his works and Islamic art rejected upon arrival to the UK in the mid-1950s, perhaps as part of the last wave of 'colonial' artists, he was in an existential crisis. This work created 9 years after his arrival, was his way to reconcile his dual cultural heritage, Pakistani and British. The painting depicts three chess pieces of various heights and sizes. The frontal viewpoint emphasizes the two dimensionality of the canvas, accented by the horizontal line that cuts across the lower fifth of the work. The horizontal line is a recurring motif is Shemza's work, and is often interpreted as a symbol of connection and unity. It was his way to create a sense of order and structure, whilst simultaneously paying homage to Islamic principles of art. Normally, works from this series feature multiple chessmen in each composition, and are wider, however this work, is similar to his Untitled (Red and Yellow Ochre Composition) and only has three pieces, the King, the Queen and the Bishop which dominate the canvas. This grouping of three could also be seen to be a family, as this was the title Shemza would give to the subsequent works he produced in the 1980s that formed part of the same series. The dark colours used in the painting are intentional. They convey a sense of depth and contrast that emphasises the white geometric shapes and forms of the chess pieces. The use of black, dark brown and maroon also evoke the traditional colours of the chessboard, which are often made of dark wood. Moreover, the dark colours also create a sense of tension and drama that reflected the intellectual and strategic nature of the game, an allusion perhaps to the unresolvable question of identity. To see a silkscreen from the same series sold in these rooms see Bonhams, Islamic and Indian Art, 23rd April 2013, lot 427.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Paresh Maity (Indian, B. 1965)Untitled (Boats) signed 'Paresh Maity 2000' lower rightwatercolour on paper, framed52.5 x 73.4cm (20 11/16 x 28 7/8in).Footnotes:ProvenanceProperty from a private collection, UK;Acquired from Birla Academy, Mumbai in 2003.Maity is known for his paintings of boats and water bodies and the present lot is an exquisite example from his oeuvre. His interest in painting boats stems from his fascination with the relationship between humans and water and he sees boats as a metaphor for the journey of life, which is characterised by movement, transformation, and change.Maity's paintings of boats also reflect his upbringing in the city of Tamluk, West Bengal, which is situated on the banks of the Rupnarayan River. The river and the boats that sailed on it were an integral part of Maity's childhood, and he often incorporates elements of his memories into his paintings. Moreover, his boats are also influenced by his travels to different parts of the world, where he has observed and captured the essence of water bodies and their surroundings. He is particularly drawn to the colours and textures of boats and the reflections they create on the water, which he skilfully depicts in his paintings.For further information on this lot please visit Bonhams.com

Krishna Hawlaji Ara (India, 1914-1985)Untitled (Flowers in a Vase) signed 'Ara' lower rightwatercolour on board, framed76.2 x 55.9cm (30 x 22in).Footnotes:ProvenanceProperty from a private collection, Florida.Acquired from India in the 1930s;Acquired from the Estate sale of the above.The life of K.H. Ara was marked by a constant struggle for survival, yet he persisted with his love for art and desire to paint. His relationship with his father and step-mother were challenging and this forced him to abandon his home for Bombay where he worked as a domestic servant. Caught up in the independence movement, he lost his job after partaking in Gandhi's salt satyagraha, which led to his imprisonment. This represented the beginning of a social and political awareness that eventually led to the creation of the Progressive Artists Group alongside five of the most influential modernist artists in India. Here, Ara found the intellectual and formal encouragement that allowed him to further develop his artistic production and define his style. In 1942 he had his first solo show and in 1944 he was awarded the Governor's Prize at the Bombay Society Annual exhibition. Later in his career, his exhibitions became less frequent, as he dedicated most of his later life to helping upcoming artists. Ara remained in India where he died in 1985.When discussing his artistic production, Ara's lack of formal training is surprising. However, the absence of academic limitations was an advantage that gave his works a raw authenticity. His paintings were free from the structures imposed by the classical standards of the Bengal school and the Western ideals of fine art. Often described as the most intuitive member of the PAG, Ara succeeded in using classical devices to expand the language of his painting, evolving his signature style that loudly emerged from his very early works. Although he is usually compared to Cezanne and Matisse, it would be reductive to think of his work as a mere reflection of Western modernism. Although European modernism represented a source of inspiration, his and the PAG's artistic production was deeply rooted in the historical and social context of 1940s India, the liberation from colonialism and the definition of a newly rediscovered national identity alongside a place of Indian art in the world. Due to his intuitive grasp of the principles of modernism Ara revitalised the entire genre of 'Still Life' in India. Still Life, specifically vases of flowers, represents the hallmark of his artistic production. This painting Untitled (Flowers in a Vase) is an exquisite example of Ara's style and is characterised by a roughness in both drawing and the application of the paint, that seems to overflow from one form to the other. The minimal attention to details and the predominance of colours is evident. Petals merge into each other and yet the choice of different colours makes every single flower stand out in a vibrant bouquet. Particularly significant is the use of white that is frequently applied by the artist to create forms, connect shapes, differentiate the space, and modulate depth and volume. This work demonstrates Ara's ability to turn an apparently till subject into a dynamic triumph of colours.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

JOHN MILLER. 'Chapel near Newbridge'. Watercolour, signed & titled. 25 x 36cm. Note: This painting is illustrated on page 38 of John Miller's Sketchbook of Cornwall.  Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.  WE CAN SHIP THIS LOT, but NOT if part of a large, multiple lots purchase.

Indian watercolour on silk, various figures collecting water, framed, 81cms x 51cmsIt is very difficult to be 100% certain due to the painted surface. The painting is definitely on fabric, which has now been changed to silk in the description.

Michael Ayrton, British 1921-1975 - Bathers on a Jetty, 1952; oil on panel, signed and dated upper left 'Michael Ayrton 52', 25.5 x 35.5 (ARR)Provenance:private collection and thence by descentNote:This is the first of two oil paintings on a theme which Ayrton had previously been exploring in drawings and watercolour, originally inspired during his travels in Italy by seeing small boys swimming off the bridges and piers of Venice and Naples. This painting and 'Bathers on a Jetty II' (private collection) were the only oil paintings made, but the theme continued into his sculpture in 1954 with 'The Indomitable Bather' (a small plaster which was never cast) and was fully realised later in 1955 with the bronze 'Figures on a Jetty'.With thanks to Justine Hopkins for her assistance in the cataloguing of this work.

Four 20th century paintings and an embroidered fire screen. Comprising a pair of limited edition Ray Figg watercolour prints, each depicting boats, 30.5cm x 41cm, an oil on board signed 'L Lines', 41.5cm x 46cm, and an unsigned painting of a cottage scene, 25cm x 46cm, the fire screen featuring birds and flowers, H77cm

Two 20th century paintings. Comprising a French oil painting of Uzerche Cathedral, indistinctly signed lower right, approx 39.5cm x 49.5cm, in a gilt and ebonised frame; together with a watercolour of the Cathedral of St Etienne, Auxerre, signed 'S.T. Garton, 1948', lower right, 24cm x 35cm, in a glazed frame

A LANDSCAPE WATERCOLOUR ( OR GOUACHE ) PAINTING AFTER CHEN SHAOMEI  ( 1909- 1954) ON SCROLL A/F57cm x 131cm picture onlytotal size 69cm x 190cm 

ATTRIBUTED TO JAMES BOURNE (1773-1854) 'NORTHFLEET, KENT', a figure is walking on a path between cliffs with a distant view of boats on the estuary, no visible signature, attribution to Bourne verso, ink with watercolour wash on paper, approximate size 38cm x 28cm, Condition Report: painting is in good condition, frame marked

RALPH WATERHOUSE (1943-) 'GREAT CRESTED GREBE', a study of a bird on the water, signed bottom left, watercolour on paper, approximate size 15cm x 24cm, Condition Report: the painting is in good condition, dirty marks to the mount, frame marked (artist resale rights apply)

HMS SPARTIATE' A 19TH CENTURY WATERCOLOUR DEPICTING THE THIRD RATE SHIP OF THE LINE UNDER FULL SAIL, no visible signature, indistinctly titled to lower edge, dated August 1825, mount reads HMS Spartiate leaving Rio De Janeiro Harbour August 1825, the painting is probably from a later date, approximate size 19cm x 27cm, Condition Report: mount burn to the edges

EDWARD WESSON (BRITISH 1910-1983) HEMINGFORD GREY A RIVER LANDSCAPE WITH CHURCH, depicting a view up a river with boats either side, a church with a round tower takes centre stage, signed and dated '54 in pencil, there is a Royal Institute of Painters in Water Colours label verso with a title 'On The Left Bank, Paris', however the label may have come from a different Wesson painting when it was re-framed, watercolour on paper, approximate size 36cm x 50cm, Condition Report: the painting is in good condition, small knocks to the frame

Peter Spriggs. “Orthodox Candle”. Ink & watercolour. 7.5 X 5cm (image size). Peter Spriggs was born in Cardiff. He was awarded a First Class Honours in BA Fine Art at Cardiff Metropolitan University & MA (RCA) from the Painting School, Royal College of Art, London. He is a lecturer in Fine Art at Carmarthen School of Art at Coleg Sir Gar & a recipient of Arts Council of Wales Awards.  

William Frederick Caswell R.B.S.A (fl: 1870-1914)'Woodland river scene with Cattle' Watercolour painting, 35cm x 52cm, signed, gilt framed, mounted, and glazed

A watercolour painting of Holy Trinity Church, Stratford-upon-Avon, 16cm x 24cm, framed and glazed

19th Century Chinese Qing Dynasty ancestral scroll painting, ink and watercolour, portraying at least six generations of male and female figures, dressed in formal attire, 174.5cm x 93cm, on silk backing, overal 229cm high, with ebonised jiku 114cm wide

INDIAN SCHOOL, MUGHAL-STYLE PAINTING ALONG WITH AN ARABIC WATERCOLOUR both mounted, framed and under glass Qty: 2

Aloysius O'Kelly RHA (1853-1936)'Mass in a Connemara Cabin'Monochrome watercolour and bodycolour, 19.5 x 27.5cm (7¾ x 10¾")Signed and inscribed verso; also inscribed: "The Duchess of Connaught presenting new colours to the 4th Oxfordshire Light Infantry at Alalish (?) on Friday."Provenance: Christie's London, lot 181, 15 Dec. 1994, where purchased by the present owner.Exhibited: Dublin, Hugh Lane Municipal Gallery of Modern Art, 1999-2000, No. 1Literature: Niamh O'Sullivan, Re-orientations. Aloysius O'Kelly: Painting, Politics and Popular Culture, Dublin, 1999.The full scale version of this painting is currently on loan to the National Gallery of Ireland from the people of St Patrick's, Edinburgh and the Trustees of the Archdiocese of St Andrew's and Edinburgh

Jack Butler Yeats RHA (1871-1957)I Will Not Sit on the Grass, She SaidIndian ink and watercolour, 11.3 x 15cm (4½ x 6")SignedProvenance: With the Dawson Gallery, Dublin; Sale, Sotheby's London 10/06/81, Lot 158, where purchased by the present owner.Jack B. Yeats produced his greatest volume of watercolour work during a period (c. 1897-1910) when he was also very active as a cartoonist and illustrator. So, as much as the eye is drawn to the vivid application of finely judged colour, it is the boldness of line, the clarity in the rendering, and occasionally also the humour, that characterizes much of this collection. The skills of draughtsmanship which he undoubtedly possessed had been honed, without tuition, during the hours of obsessive sketching and doodling with which he had occupied himself from an early age. He excelled as a black-and-white artist, and producer of fine watercolours and drawings, during the period that preceded his entry into the world of oil painting with which he is more commonly associated (though he would continue to produce work in all these areas for many years). He was living in England, the country of his birth, throughout this time, and one can detect traces of some of the great English graphic artists, such as George Cruikshank and Phil May, though he evolved an idiosyncratic and recognizable style all his own from early on. A hint of the bizarre, suggestive of Francisco Goya or James Ensor, add a mysterious flavour to works such as the wonderful pencil and watercolour piece, Blue Jackets in Fancy Dress, also known as Men-o-Wars in Fancy Dress (Costume),(Lot 52) which depicts an unusual group of figures ascending a quayside ladder in Dartmouth.There were regular trips back to Ireland, and in dozens of compact sketchbooks he documented the characters and incidents of small-town life, many related to fairgrounds and to horse racing. Hilary Pyle tells us that these sketches, themselves often in ink and watercolour, would form the basis of larger works completed at home in his Devon hideaway, Cashlauna Shelmiddy. Losing nothing in the transition, the finished works retain the spontaneity and raw spark of the quickly rendered sketchbook drawings. Horses appear in a number of the pictures in this collection (The Race (Lot 47); The Baker Rode a Pie-Bald (Lot 51)), and they would be central to his art throughout his life. They could function metaphorically, particularly in the later work, but Yeats could also be more direct in his celebration of their sheer physicality, power, and speed. He was equally fascinated by the enigmatic riders, steely-eyed protagonists in many drawings and paintings, and by the bustle of the social worlds in which they moved. The beautifully observed pen and ink drawing of The Crown and Anchor Man (Lot 48) is typical of the unique characters- the street performers and race day vendors, circus and fairground entertainers- to whom Yeats was repeatedly drawn during this period.Yeats’s first solo exhibition of watercolour sketches, the majority of which were executed in Devon, was held at the Clifford Gallery in London in 1897. In 1899 he held another exhibition of his work, titled “Sketches of Life in the West of Ireland,” at the Walker Art Gallery, again in London, repeated later that year at Leinster Hall in Dublin. Throughout this period Yeats alternated between galleries in these two cities, averaging one solo show annually up to 1914. He subscribed to a press cuttings agency- Romeike and Curtice of the Strand- and pasted his notices and reviews into a scrapbook, which attests to the largely positive response that his watercolour work received at the time. A critic for the Daily Express, on visiting the first Dublin show, wrote that “(n)o one, it seems to us, has studied the humbler side of Irish life with such insight and intelligence, and certainly no Irish artist has ever given us so graceful and fresh a representation of its pathos and humour.” Commenting on another Dublin exhibition two years later, a reviewer for the United Irishman remarks, with some prescience, that “these pictures will some day be looked upon as important historical records.” Indeed there is an almost documentary approach to many of his subjects, unsurprising given the journalistic collaborations with J.M. Synge that saw them render, in prose and illustration, the rawness of life in Mayo and Connemara for the Manchester Guardian in 1905. Yeats would return again and again to the rural sites of sporting competition and public entertainment, often with an eye for the onlookers, as in the busy and endlessly appealing composition of A Good Winner (Lot 50). Many works from this period combine observation from real life with the mischievous caricatural twist that typified much of the material he was also producing for the humour periodicals and early comics. The suggestion of gently ribald comedy in I will not sit on the grass, she said (Lot 46) exemplifies the playful interplay between caption and image that Yeats imported into the art gallery from those popular contexts. The strong outlines and striking compositions evident in these pieces, for example Figure of a Young Woman in a Landscape (Lot 53) and Beggar at the Door (Lot 49), also recall the well-known drawings that appeared in printed form in the series A Broad Sheet (1902-03) and later A Broadside (1908-1915) published respectively in London by Elkin Mathews and in Dublin by Dun Emer/Cuala Press.Michael Connerty, April 2023Lit: Hilary Pyle. Jack B. Yeats- His Watercolours, Drawings and Pastels. Dublin: Irish Academic Press. 1992

Jack Butler Yeats RHA (1871-1957)Near the Docks (1945)Oil on panel, 23 x 35.5cm (9 x 14")SignedProvenance: Mrs F. Davenport, Surrey; With Waddington Galleries, London; Private Collection, DublinExhibited: Limerick, Goodwin Galleries, Sept. 1945Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonné of The Oil Paintings, Andre Deutsch, London 1992, Cat No. 687This late work depicts two figures at a quayside with tall buildings and boats and water behind them. The man in the peaked cap is reminiscent of the figure of the Pilot who appears in many of Yeats’s paintings including the Pilot Sligo River (1927, Private Collection), A Misty Morning, (1943, Private Collection) and the early watercolour The River Pilot, (1900, Model Sligo). The figure in this painting appears younger and less stern than the Pilot, but his cap, necktie and dark blue jacket are all hallmarks of the famous figure. The old man who rushes past the sailor, recalls the figure of the artist himself, who is usually dressed in this formal fashion with hat and long coat. His stooped pose contrasts with the self-assurance and upright stance of the sailor. It is as if a chance encounter had sparked off a memory of Yeats’s youth and the heroic figure of the river pilot who featured so large in his childhood. As a boy, Yeats often travelled on the pilot boat up and down the Garavogue river, where his grandfather William Pollexfen was a merchant in Sligo town. The young boy lived with his grandparents in Charlemont House, overlooking Sligo harbour.Near the Docks is one of several oils painted in 1945 that recall the ships and sailors of Sligo. Yeats was clearly remembering and thinking about this period in his life at the time. It is likely, given his focus on Sligo, that this work depicts the docks in the Western town. For another painting From the Old Pilot House, (1945, Private Collection) Yeats perused a sketchbook of 1902 in which he had drawn the Pilot house at Rosses Point.¹ He includes in the painting, an image of the Pilot gazing out to sea. The Pilot was crucial to the safe journey of merchant ships from the Atlantic to the docks in Sligo and his skill impressed the young Yeats who used him as a symbol of ingenuity and resolve throughout his subsequent career. The right-hand side of the composition is closed off by the imposing block of a quayside warehouse while the lower and more varied buildings on the left allow daylight to dominate. The flowing water of the riverside is conveyed by the striated surface of the panel which Yeats uses to create rhythmic lines throughout the work. The proximity of water and architecture gives an almost Venetian quality to the left-hand side of the painting. Such liminal spaces between land and water were a rich source of inspiration to Yeats who relished their ambiguity and the direct interaction between solid and liquid form that they encapsulated. The strong light of day almost dissolves the buildings and their solid forms are conveyed largely through reflected light on the surfaces of their walls such as the deep blues and yellows of the warehouse or the rich orange and yellow of the smaller building to the left. The two figures are sculpted out of thick pigment. The downcast head of the old man conveys his thoughtful expression despite the apparent anarchic arrangement of paint strokes. The face of the sailor is an astonishing passage of painting, with the fall of strong daylight from the left transforming the ear and chin into streaks of bright yellow. The left eye socket is in shadow and is molded out of purple paint. The application of pigment throughout the composition creates a sense of rapid movement and changing atmospheric effects. The chance encounter or memory that inspired Near the Docks is solidified by Yeats, in all its psychological and sensual intensity, through his remarkable handling of paint. Róisín Kennedy, April 2023

Nano Reid (1900-1981)NudeOil on canvas, 50 x 60.5cm (19¾ x 23¾")SignedProvenance: With The Dawson Gallery, Dublin, where purchased, framing label verso, thence by descent to the present owners;The Estates of Dr. John & Mary Esther O’Driscoll, KildareExhibited: Dublin, Municipal Gallery, November/December 1974; Nano Reid Retrospective, Travelling to Belfast, Ulster Museum January/February 1975, Cat. No. 27Born in Drogheda Co. Louth, Nano Reid trained at the Metropolitan School of Art in Dublin, where she studied under Sean Keating and Harry Clarke. Afterwards she travelled to Paris, enrolling at the Académie de la Grande Chaumiére along with other Irish artists such as Kathleen Fox. Reid then attended the Central School in London, studying under Bernard Meninsky. In 1929 she returned to Ireland where she stayed until 1962 during which time she exhibited regularly at the Dawson Gallery and the R HA. Her first solo exhibition was held at the Dublin Painters Gallery in 1934. After returning to Ireland, Reid spent the rest of her life in Drogheda, concentrating on painting aspects of local life and landscapes. However, her paintings are in no way bound by a sense of locality, but are accomplished essays in painterly abstraction. By 1942, she had established a reputation for her richness of invention, with economy of means, and her watercolour landscapes were compared to those of Raol Dufy. She exhibited at the RHA during the 1930s; but, from 1943, generally exhibited with the Irish Exhibition of Living Artists, the Dublin Painters and later with the Independent Artists. She represented Ireland with Norah McGuinness at the Venice Biennale in 1950 and exhibited at the Guggenheim International Exhibition in New York in 1960.

Artists equipment - drawing slide, books inc Edward Seago, The other side of the Canvas; concise History of English Painting etc, after F Wheatley, set of twelve Cries of London prints; others watercolour etc qty

The West Indies, C. 1792, by Sir William Young Colonial Watercolours, etc. A highly important group of original watercolours etc. inherited by the Day Family of Co. Cork, and now on the market for the first time in approx. 230 years.   The Collection includes the following:  1. “View of the Vale of Beaucament and Pembroke House and Estate in the Island of St. Vincent”, 1792.  Inscribed.   25 x 38cms (10” x 15”) 2. “View of the Villa and Calliagua Estate in the Island of St. Vincent”, 1792.  Inscribed. 25 x 38cms (10” x 15”) 3. “View of the Louisdor House and Estate in the Island of Tobago 1792”.  Inscribed. 25 x 38cms (10” x 15”)  4. “View of the Old Road House and Estate in the Island of Antigua, 1792”.  Inscribed and signed in pencil, by ‘Sir William Young, Bart’.  25 x 38cms (10” x 15”) 5. “Landscape with Settlement and Palm Trees in foreground”, not titled.  Approx. 23 x 40cms (10” x 15”)   6. “Landscape with two buildings surrounded by trees”, not titled.  20 x 33cms (8” x 13”) 7. “Delaford , [Manor House]” Near Uxbridge.  27.5 x 38cms (10¾” x 15”) A late 18th Century, Naïve Watercolour Study. 8. Map, Kitchin (T.)  “Plan of the Harbour of Port Antonio in the Island of Jamaica”.  1774.  Single page map.        Together 8 items, removed from an 18th Century Album, tipped on to plain white pages, some stains, the two smaller watercolours with small damage and some loss.  As watercolours, w.a.f.  A unique collection.  Provenance:  The above group have been inherited by the present owner passed down by direct line from Sir William Young, Bart., great-great Grandfather of K.M.A. Day, through his daughter Eliza’s marriage to Richard Ottley.     Sir William Young [1749-1815] 2nd Baronet, F.S.A., was a British Diplomat, Colonial Governor, Politician, of Delaford Manor House, near Uxbridge, England. His Father, Sir William Young, [1725-1788], 1st Baronet, was also a Politician, Sugar Planter and Slave Owner. This family is the subject of the famous painting by Zoffany, entitled “Sir William Young and his Family”, c.1767. The 1st Baronet served as President of the Commission for the Sale of Lands in the Ceded Islands, and was the first non-military Governor of Dominica in 1768. He was the author of “An Historical, Statistical and Descriptive Account of the island of Tobago …..” On the death of his Father, the 1st Baronet, the younger Sir William Young, now 2nd Baronet, inherited four plantations in the West indies, one in Antiqua, two in Saint Vincent, and another on Tobago. He benefited greatly from the slave trade, and owned 896 enslaved Africans at the time of his inheritance. In 1791, he embarked on a tour of his estates in the Caribbean, surveying the land, gaining information on conditions of those he enslaved and the sugar industry in the region.  He published his findings in 1801, under the title “A Tour through the several Islands of Barbados, St. Vincent, Tobago and Grenada in the years 1791 and 1792”          He was appointed Governor of Tobago in 1807, a post he held until his death. He had been entrusted to supply an in-depth report, on condition, treatment of slaves, etc. etc. At the time of the report, the free population of Tobago was calculated to be 959, with a militia of 333 men, while the number of enslaved people on the island was estimated at 16,671. His book contains many watercolours, maps, clippings and descriptions of the plantations on the island.  A unique and highly important Collection.  As watercolours, w.a.f. (1)

Nicholas Cammillieri (Maltese 1762-1860) watercolour, titled 'Schooner Vesper of Boscastle, John Bellamy Commander, Entering Port of Malta 1844', signed lower right 'Cammillieri', framed, 62cm x 76cm. John Bellamy was born in the Parish of Poundstock, Cornwall, circa 1805.This painting and the following lot 269 have been consigned by the descendent of the Captain John Bellamy. Please visit our website 'News from the Rostrum' for further background information. Also further research information on John Bellamy and the ship is available on request, which includes reference to the Lloyds Register 1838 and 1839.

A 19th century tromp-l’oeil painting depicting various scenes of rural life, flowers, fruit, animals, etc.; watercolour: 14” x 17”, framed & glazed. (18¼” x 21¼” over-all).

A watercolour painting depicting a goalkeeper making a save, signed by the artist Bev Davies and dated 1977, originally presented to Paul Bradshaw of Blackburn Rovers for Granada TV's Kick Off Save Of The Season award, mounted and framed under glass, approximately 34 cm x 23 cm.

CHARITY LOT SUPPORTING OUR 2023 NOMINATED BENEFICIARY TENOVUS CANCER CARE LARGE SELECTION of artwork and books to include, 19TH CENTURY CENTURY CONTINENTAL SCHOOL oil on canvas - old testament scene of standing male and kneeling female with smoke ascending from a fire, unsigned, 39 x 29cms, OBEDIAH HODGES (Welsh, 1873-1938) gouache on board - three exotic birds perched on leafy branches and flying overhead, signed and inscribed 'Guilote Mexican', and a companion similar inscribed 'Uraca, Mexican', handwritten labels verso, 53 x 18cms (2), WALTER ASHWORTH (1883-1952) oil on board - 'An Italian Landscape', cowherd with two cows in an Alpine landscape, signed, titled on label verso, 35 x 24cm, ALWYNNE BOWEN (Welsh, 20th Century) oil on canvas - landscape with farm and outbuildings, entitled verso 'The Little Fields of Lleyn From Braigh-y-Bwll', signed, dated 1975, 50 x 75cms, THREE OILS ON BOARD, Mediterranean scenes, two signed 'R. Witchard', 55 x 90cms, 47 x 59cms, and 45 x 53cms (3), ANDREW CLEMENT VERSTER (South African, 1937-2020) etching – lady in chair, signed and dated ’72 in pencil, 73 x 54cms, C M CRUTTENDEN (English 20th Century) oil on board - still life of flowers in a vase and vegetables, JOHN CLEAL (South African, 1929-2007) pen and ink sketch - Mumbles Pier, GEORGE KILIBARDA (Welsh, b. 1954) limited edition (4/5) colour print - busy city park scene, W WARD coloured engraving after an original painting by George Moreland (1763-1804) - entitled 'Juvenile Navigators', JOHN COTHER WEBB (British, 1855-1927) coloured mezzotint - mother watching her children at play, signed in pencil, STANLEY ORCHART (born Stanley James Orchart - British, 1920-2005) print - entitled 'Butlers Hard, Hampshire', THOMAS G APPLETON (British, 1854-1924) two coloured aquatints - Fruit Seller and Family Group, TWO MONOCHROME PAINTINGS ON GLASS, MOIRA HUNTLY (b.1932) watercolour - 'Farm Nr. World's End', COLIN BITHELL (Contemporary) limited edition (57/160) lithograph - opera singer Sir Bryn Terfel, limited edition (623/850) colour print - paddle steamer 'Cardiff Queen', leaving pier head, Cardiff, dated 1956, J LEWIS STANT Rembrandt Guild artist's proof etching - titled in pencil 'Llewellyn's Cottage, Beddgelert', signed, 24 x 32.5cms, GROUP OF EPHEMERA / PRINTS ETC including a framed printed portrait of composer Edvard Grieg, WRAXALL (NATHANIAL W.) The History of France, 3 vols., 1795, contemp. full calf gilt, 4to, selection of Miller's Antiques hardback books ETC

Early 20th century Oil on board of landscape scene, 29 x 24cm, gilt framed, Watercolour titled 'A grey day above Grahamstown' signed EMJS, 19 x 33.5cm, framed and glazed, Daniele Mandelli (21st century) Oil on Board of a Steam Train titled ‘ There and Back ‘, Humorous Political Painting titled ‘ Mr Benn!, would you please keep your grubby little hands away from my private sector ‘ signed Arthur and dated 8.XII.74 and Virginia Powell Pastel titled ‘ Cows on a Winter Morning, Somerset (5)

Framed and Signed Sydney Vale Watercolour Painting along with Vintage Map.

19th century British School, portrait of an elegant lady, watercolour painting, 16cm x 11cm, gilt framed, mounted, and glazed

William Henry Pigott (1810-1901) Holy Trinity Church spire, seen across water meadows, cattle in the foreground, watercolour painting, signed, 20cm x 27cm, gilt framed, mounted and glazed 

E.C. Pascoe Holman BWS, Rough sea, a distant ship on the horizon, watercolour painting, signed, 26cm x 39cm, framed, mounted 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

Arthur Netherwood (1864-1930) "Harvest Field" watercolour painting, 39cm x 66cm, gilt framed Condition report – Would suggest overall fading/discolouration there is a small mark in the sky a few centimetres above the hills right of centre otherwise no nasty rust spots cant see and tears or repairs (not had out of the frame). Frame looks original to picture some losses.

Stanhope, Davis, Peaceful pastures, cattle beside a river, watercolour painting, signed, 38cm x 55cm, framed and glazed 

A framed 19th century oil painting on canvas a view of Warwick Castle, 44x34cm a small oil painting still life study a copy oil painting marine study and a watercolour study of St Michael Mount. (4) .

William James Muller (1812-1845) - A 19th century watercolour on paper painting depicting a Church interior scene. Framed & glazed. Measures approx. 31cm x 26cm.

Frederick E. Valter (British, 1850-1930) - An original late 19th century 1897 watercolour & pencil on paper - painting by artist Frederick E. Valter titled 'A Corner in a Poultry Farm'. Signed bottom right. Framed & glazed. Measures approx. 43cm x 28cm. 

TS Boys - An early 20th Century watercolour landscape painting scene depicting figures walking along sandy beach with building below blue cloudy sky. Titled by artist. Framed & glazed. Fine Art Society label to verso. Measures approx. 37cm x 47cm.

English School - A 19th century watercolour landscape painting  depicting a moorlands scene before mountains with village and people. Mounted framed and glazed being signature (illegible) to corner and date of 1885. Measures approx. 82cm x 106cm.

Peter McLaren (Scottish, b.1964) - 'Cyclist in Shadow over the Forth Bridge'. Ink watercolour painting being framed and glazed. Measures approx. 64cm x 46cm, 85cm x 70cm to include frame.

A large assortment of art equipment, block painting watercolour paint, brushes, decorative rubber stamps, heat gun, liquid acrylics, inks, chalks etc. Lot also includes a quantity of unused frames and canvasses, over five boxes and a vintage case.

A framed watercolour painting " Cutting kelp weed off Irish coast" signed J H Lee, overall size 42cm x 31cm plus an oval gilt framed print of a lady plus another similar frame.

George Hamilton Constantine (British, b.1878-d.1967), 'The Seaweed Cart', watercolour on paper, signed 'The Seaweed Cart, G. Hamilton Constantine' (lower left), gilt framed45cm x 53.5cmThis painting is in good condition,and protected behind a glass cover. The gilt frame is in decent condition, with some scratches and marks.

* LADY LUCINDA L MACKAY (SCOTTISH b. 1941), THE BANK OF SCOTLAND (HQ), FROM PRINCES STREET GARDENS ink and watercolour on paper, signed and dated '98, titled label versomounted, framed and under glassimage size 45cm x 60cm, overall size 64cm x 78cmNote: Born in Berkshire, Mackay was brought up in Scotland and educated in Switzerland. She trained at Edinburgh College of Art under William Gillies, graduating in 1965, and undertook postgraduate studies at the Central School of Art, London in 1973. Alongside her career as a professional artist, painting portraits, landscapes and still-life and exhibiting widely, Mackay has worked as a teacher of art, design and ceramics. Her paintings are characterised by bold brushwork and vibrant colours. Mackay lives in Edinburgh. Nine of Lucinda Mackay's works are held in UK public collections including The National Galleries of Scotland.

* JAMES HARRIGAN (SCOTTISH b. 1937), CATTLE ON THE SHORE watercolour on paper, signed, titled label versomounted, framed and under glassimage size 48cm x 71cm, overall size 75cm x 95cmLabel verso: The Macaulay Gallery, Stenton.Note: James Harrigan is a graduate of Glasgow School of Art where he studied Painting and Printmaking between 1956 and 1961. He was born in Ayr in 1937 and has continued to live in Ayrshire all his life. He taught Art for many years and was an inspiring teacher with many of his pupils going on themselves to develop successful careers as artists. In recent years James has spent time in the West Indies and in Brazil but he never tires of painting the landscape and coastline around his Ayrshire home and elsewhere in Scotland. He is known mainly as a landscape artist but his landscapes are almost invariably informed by a human presence and day to day activities, a sense of life being lived. This may be actual figures or it may be a suggestion of human life through buildings, gardens, boats.... He is an expressive painter working mainly in oils, using the rich, luscious quality of the paint to great effect but he is also a gifted watercolourist. He exhibits widely and has work in many collections including those of the House of Lords, Glasgow University, P & O Cruises, Wigtownshire Education Trust and the Maclaurin Gallery. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. In The Scottish Contemporary Art Auction of 10th November 2022, lot 52 "Girvan Harbour" (by James Harrigan) sold for £2200 (hammer) narrowly beating the previous auction record price for a work by James Harrigan. A recent watercolour by the artist to feature in our auctions was "Tweed Hillside" (identical dimensions to "Cattle on the Shore") which sold for £440 (hammer) - lot 23, 29th May 2022.

* LEONARD GRAY RSW (SCOTTISH 1925 - 2019), EAST NEUK FISHING VILLAGE watercolour and pencil on paper, signedmounted, framed and under glassimage size 38cm x 52cm, overall size 61cm x 74cmNote: Leonard Gray was a quietly industrious painter whose prodigious output, in his signature style of warm, subtle shades with trademark texture, was coveted by private and public collectors including HRH The Duke of Edinburgh. He first began exhibiting more than 65 years ago and produced more than 1000 works, three of which hang in the late Duke’s collection of Scottish paintings at the Palace of Holyrood House. Many of his paintings are based on Scotland’s east coast, perhaps unsurprisingly for a man born in Dundee, who trained in Edinburgh and worked in Fife and Aberdeen. He won numerous awards and prizes including The John Laing (London) Prize for Landscape Painting in 1996, 1997 and 1998. Known collections include: HRH The Duke of Edinburgh’s Collection of Scottish Paintings (3 paintings); Royal Scottish Academy, Edinburgh; City Gallery, Edinburgh; Greenock Art Gallery; National Trust for Scotland; University of Aberdeen; Herriot Watt University, Edinburgh; Education Authority of Edinburgh; Education Authority of Dundee; Education Authority of Grampian; Education Authority of Highland; Edinburgh Royal Hospital; IBM. Computers; Low and Bonnar, Dundee; Royal Bank of Scotland, Edinburgh; Royal Bank of Scotland, Dundee; Clydesdale Bank, Glasgow; Scottish Equitable Insurance Company and Grampian Hospitals Art Trust.Condition is good overall

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SEA KELP gouache on paper, signedmounted, framed and under glass (slipped in the mount)image size 21cm x 29cm, overall size 42cm x 47cm Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

* ANNETTE J STEPHEN (SCOTTISH 1910 - 1991), MULL COTTAGE watercolour on paper, signed, titled label versomounted, framed, and under glassimage size 27cm x 35cm, overall 57cm x 64cmLabel verso: Eduardo Alessandro studios, Dundee.Note: Annette Stephen (nee Soper) was born in Aberdeen and raised in Stonehaven. She was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Lil Neilson and Angus Neil. Annette studied at Edinburgh College of Art under William G. Gillies whose influence can be seen in her choice of media. Painting mainly in watercolour from her home in Catterline, Annette was influential in the village's artistic success. In 1951, whilst recuperating from mumps, Joan Eardley was first introduced to the village by Annette. Together they found an ideal studio, a disused Customs and Exise watch house, which Annette purchased for less than £50. Annette planted a wild and rambling garden at ''The Watchie'' which delighted visitors to the studio. When Annette died in 1991, The Watchie was bequeathed to Lil Neilson on the understanding that it should continue to be used as a studio for artists, which it still is to this day.

* JOYCE W CAIRNS PPRSA DEd (hc) HRA (2018-2022) HRHA HRWA HRBA RSW MA (RCA) (SCOTTISH b. 1947), HOMESICK watercolour on paper, signed and dated 1975framed and under glassimage size 49cm x 69cm, overall size 59cm x 79cm Provenance: authenticated by the artist (02.05.23) and although untitled, Ms Cairns suggested "Homesick" as at the time (1975) she was in London and missing her homeland. This is a rare early work by one of Scotland's most significant and critically acclaimed artists of her generation.Note: In 2018 Joyce W Cairns was elected the first woman President of The Royal Scottish Academy in its 192 year history. Given the extraordinary talent of many Scottish women artists both past and present, this honour reflects the high esteem of the Royal Academicians who elected her and her status as one of the most important and respected artists of her time. Note 2: Joyce W Cairns was born and brought up in Edinburgh. She studied painting at Grays School of Art, Aberdeen from 1966 -71 and The Royal College of Art, London 1971 -74. She was awarded a Fellowship at Gloucester College of Art and Design 1974-75 returning to London where she did the Art Teacher’s Certificate Course at Goldsmiths College, University of London 1975-76. In 1976 she returned to Aberdeen where she taught Drawing and Painting at Grays School of Art until 2004 when she took early retirement to complete the vast body of work which culminated in ‘War Tourist’. It was exhibited for 3 months in 2006 at Aberdeen Art Gallery, attracting nearly 30,000 visitors. Her work is mainly autobiographical based on past memories intertwined with present experiences, woven around the backcloth of the once fishing village of Footdee at the mouth of Aberdeen harbour where she has lived for the past 33 years. ‘War Tourist’ was based on her Father’s war backed up by extensive research following in his footsteps through Europe and Tunisia. She now paints in Dundee working in a house and garden overlooking the Tay which will add a further dimension to her work but still retains a residence in Footdee. Cairns has won many awards and is featured in many publications and in the wider media. Cairns’ work has been exhibited in serious group exhibitions since 1970, as well as having numerous celebrated solo exhibitions in Scotland, London and Canada. Her work is held in numerous public collections including Aberdeen Art Gallery, The Scottish Arts Council, BBC Television, Edinburgh City Arts Centre, Fife Regional Council, Fleming’s Bank, Glasgow City Art Gallery & Museum, Glasgow Gallery of Modern Art, Grampian Television, Graves Art Gallery & Museum, Sheffield, Gray’s School of Art, Aberdeen, Lanarkshire County Council, Manchester City Art Gallery, McMaster Museum, Hamilton, Ontario, Mobil, Perth City Art Gallery & Museum, Shell UK, Tidaholm Government Office, Sweden, The Contemporary Arts Society, The Royal Scottish Academy, University of Aberdeen, University of Strathclyde, Unilever, Aberdeen Asset Management, The National Museums of Scotland, The Robert Gordon University, Aberdeen Asset Management,Asia, Singapore, The British Museum, The Victor Murphy Trust, Pier Arts Centre, Inverness Museum and Art Gallery, The Maritime Museum, Irvin, New Hall Art Collection, Cambridge, The National Galleries of Scotland. Further biographical information at: www.joycecairns.co.uk

* BARBARA BALMER RSA RSW RGI (SCOTTISH 1929 - 2017), UNTITLED oil on board, signedframedimage size 102cm x 122cm, overall size 120cm x 140cm Note: Barbara Balmer had a singular vision. Her pictures have a curious, if not surreal, edge. In her instantly recognisable style, she took the everyday and simplified it into shapes and patterns that she filled with subtle gradations of colour. Born in Birmingham, she moved to Scotland by way of a scholarship from Coventry School of Art that took her to Edinburgh College of Art (1949-1953). Her contemporaries are a roll call of familiar names of Scottish art: Elizabeth Blackadder, John Houston and Frances Walker to name a few. Balmer, however, eschewed the expressive brushwork and vibrant palette of the time and developed her own unique visual vocabulary. Throughout her long career, spanning more than five decades, she was twice selected to exhibit at the John Moores Exhibition in Liverpool, and had solo shows at the Richard Demarco Gallery and the Open Eye Gallery in Edinburgh, the Scottish Arts Council Touring Exhibitions and at the Fine Art Society in Edinburgh. Barbara taught at Gray’s School of Art in Aberdeen between 1970 and 1980 and held a retrospective exhibition at Aberdeen Art Gallery which travelled to Dundee, Lincoln and Coventry. Her work is included in many public and private collections including, The Royal Collection, The Scottish National Portrait Gallery (Portrait of Richard Demarco), The City Art Centre, Edinburgh, Leicester City Museum, Aberdeen and Stirling Universities, Aberdeen, Glasgow, Birmingham, Perth, Dundee and Lincoln Art Galleries. Seven of her paintings were used as dust jackets by Virago for the Modern Classics series and she was an elected member of the Royal Scottish Academy, the Royal Glasgow Institute and the Royal Scottish Society of Painters in Watercolour. In Barbara's obituary in The Herald, Richard Demarco wrote: "I hesitate to define her as an English, Scottish or indeed British artist. Her particular art must be viewed as belonging to the great and enduring tradition associated with the latest manifestations of European painting in this age of modern art".

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), POPPIES & LILIES oil on canvas, signed, titled label versoframed and under glass image size 48cm x 47cm, overall size 64cm x 64cm Handwritten label verso.Note: David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999 and the influential Lemon Street Gallery (Truro) staged a solo exhibition of his work in October and November 2018. Condition is good overall

* JENNY MATTHEWS RSW (SCOTTISH b. 1964), TULIPS ON BLUE (HOMAGE TO GIOTTO) watercolour on paper, signed, titled versoframed and under glassimage size 71cm x 76cm, overall size 89cm x 94cm Label verso: Thompson's, Aldeburgh.Note: Jenny Matthews was born in 1964 and grew up in Edinburgh, Scotland. She studied at Edinburgh College of Art under Elizabeth Blackadder, John Houston and Ann Oram, graduating in 1986 with a BA (Hons) in Drawing and Painting. Jenny has lived in France and Indonesia and is now based in Edinburgh with her husband and two children. Jenny has earned her reputation as an accomplished Scottish watercolourist and over the last 17 years her work has been exhibited extensively in the UK and abroad. She has also exhibited at the Royal Scottish Academy (RSA) and Royal Scottish Society of Painters in Watercolour (RSW). Jenny appeared in the Top 20 of the ‘Savvy Art Investors Guide, 20 Scottish Artists to Buy’, in The Scotsman October 2004 and is the main artist feature in ‘Homes and Interiors Scotland’ magazine Jan-Feb 2005. Her paintings are in the collections of Adam and Co plc, Brodies WS, Hewlett Packard, Ian Rankin and Miranda Harvey, Institute of Chartered Accountants of Scotland, Murrayfield Hospital, Paintings in Hospitals and Walter Scott and Partners, as well as in private collections worldwide.

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), EVENING LANDSCAPE, FIFE oil on canvas, signed, titled label versoframed and under glass image size 51cm x 61cm, overall size 69cm x 79cmHandwritten label verso.Note: David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999 and the influential Lemon Street Gallery (Truro) staged a solo exhibition of his work in October and November 2018.Condition is good overall

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), FLOWERS & INDIAN HORSE oil on board, signed, titled label versoframed and under glass image size 35cm x 49cm, overall size 53cm x 68cm Handwritten artist's label verso.Note: David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999 and the influential Lemon Street Gallery (Truro) staged a solo exhibition of his work in October and November 2018.Conditio is good overall