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Early 20th century European School, "Coastal scene, Cormorants in the foreground, with boats and distant Mountains" watercolour painting, monogrammed F.M.M.P. 28cm x 44cm, gilded oak frame, mounted, and glazed

Early 20th century European School, "Mountain and river scene with Fly Fisherman", watercolour painting, monogrammed F.M.M.P., 21cm x 31cm, gilded oak frame, mounted, and glazed

Houghton, Country House, watercolour painting, framed

CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMMDimensions:25.5cm x 18.2cmProvenance:Provenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Note: Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.

CHARLES RENNIE MACKINTOSH (1868-1928) TEXTILE DESIGN, CIRCA 1920 pencil and watercolour heightened with white, on tracing paper, signed and inscribed C.R. Mackintosh./2 Hans Studio/43 A Glebe Place Chelsea SW3 lower right, on the backing sheet, overmountedDimensions:17.5cm. x 16cmProvenance:Provenance: The Fine Art Society, London, 1989Note: Exhibited: The Fine Art Society, London, 1994 Mackintosh and the Glasgow Style, Travelling Exhibition in Japan, September 2000 - February 2001, p. 137, Cat. No. 140.Literature: Billcliffe R. Charles Rennie Mackintosh. Textile Designs, San Francisco 1993, p. 84 ('Ochre, Black and White') and p. 85 ('Cyclamen')Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quarto 2017, pp. 219-225, p. 222, pl. 260Note: In 1916 the Mackintoshes left Walberswick for London where they made their new home in rented lodgings in Chelsea and two adjacent small studios in nearby Glebe Place. The war had ended any idea of Charles setting up an architectural practice either in Glasgow or London, where he lacked the contacts or the money to do so. The series of wildflower studies that Mackintosh produced at Walberswick suggested a new way forward as an artist. In London, he began a series of cut flower watercolours and textile designs. The first of these flower paintings to be exhibited, Anemones, appeared at the ISSPG (The International Society of Sculptors, Painters and Gravers) in May 1916. A piece of fabric made from one of his designs can be seen in the background, suggesting he had begun working for the textile roller printers, William Foxton Ltd and William Sefton & Co. before this date. His early textile designs developed from his later work in Glasgow and from the Viennese designers he had admired before the war. Later, he drew on his intimate knowledge of the natural world, to produce abstracted repeat patterns, as in the current example. A variation of this design also provides the backdrop for Cyclamen, a watercolour of around 1922-23.By 1920 Mackintosh had built an impressive body of work and had become one of the leading textile designers of the period. His diary entry for this year recorded income of £200 from the sale of designs for voiles, chintzes and handkerchiefs. Despite this relative success, fabric designs did not bring him the recognition he needed to attract further work or commissions as his name would not have been associated with the designs at this time. In 1916 Mackintosh did however receive a commission from the engineering and toy model manufacturer W.J Bassett-Lowke for his house at 78 Derngate in Northampton, where he was able to use some of his printed textiles. However, apart from this and a small commission for Miss Cranston in Glasgow no other architectural work was forthcoming and painting remained his alternative career until his death in 1928.

An oil on board, Northern Art style street scene 21x25cm, framed and glazed another similar unsigned oil painting framed and glazed 20x24cm and a watercolour Venetian scene, framed and glazed signed Anthony Waller

A 20TH CENTURY MINIATURE WATERCOLOUR PAINTING ON PAPER, depicting a female dancer in a floral and gilt work border, 23.5cm x 14cm.

Gillian French (British, 21st Century) – A large watercolour sunflower painting, bright splashes of colour in large white frame. Signed Gillian French in black ink to lower right. 37.5cm x 47cm.

Marian Ellis Rowan (Australian, 1848-1922) a fine botanical study, Lignum Vitae (Guaiacum sanctum), watercolour and gouache, signed Ellis Rowan, 54cm x 37.5cm, framed/Note: Born in Melbourne, Marian Ellis Rowan was an important Australian naturalist and explorer. Many of her botanical drawings were used by Royal Worcester. This painting, (which was published in Southern Wild Flowers and Trees (1901) by Alice Lounsberry), was given to Henry Sandon while lecturing in Sydney and Melbourne)/Provenance: from the Henry Sandon Study Collection/see illustration CONDITION REPORT: Water marked in places, signed within the foliage.

19th century primitive oil painting 'Old Man' and small framed watercolour

Brian C. Lancaster - (1931-2005) - A Painting and Print: Ship at the Dock, watercolour, unsigned, label verso inscribed with artist's attribution, 35 x 50 cm; together with a signed limited edition print 4/10, both framed (2)

Three Asian Works of Art: Chinese ink and watercolour painting of the Great Wall of China, signed and red sealed lower right, 33 x 44 cm, together with two c.20th century Indian paintings, one bearing inscriptions (3)

20th Century Chinese Painting of Carp and Flowers, watercolour and ink on silk, bearing inscription and two red seals 50 x 100 cm, framed and glazed

FREDERICK E VALTER (1850-1930) HEAVY HORSES AND CHICKENS IN A STABLE, signed band dated 1880 bottom left, watercolour on paper, approximate size 23cm x 34cm, Condition Report: the painting is in good overall condition: small losses and marks to the frame

A.D BELL (AKA WILFRED KNOX 1884-1966) AFTER THE HARVEST, heavy horses are pulling a cart laden with hay while figures are walking, signed and dated (19)13 bottom left, watercolour on paper, approximate size 28cm x 42cm, mounted, framed and glazed, Condition Report: the painting is in good condition, small marks to the frame

A 19th century watercolour painting of a farmhouse & outbuildings beside a river, signed with monogram, 5” x 14”; a black & white woodcut by Michael Renton titled: Fairfield Church, Romney Marsh, signed & numbered 36/50; a red-chalk drawing of a seated male figure signed “Blundell”, 11” x 7½”; & a gouache study of an orchid, 9½” x 6½”. (4)

Watercolour painting of a woman with child in a rural setting. Signed Henry Hadfield Cubley. 48cm x 29cm excluding frame and boarder. In good condition. Some light foxing.

Chinese School, 'River with High Cliffs and Pine Trees', watercolour and ink landscape scroll painting (rolled) bears signature Zhu ??? Han, with three red seal marks

19th century school - Young Boy Leaning Against a Wall Reading a Note - watercolour, framed & glazed, 27 by 33cms.Condition ReportThe painting has been mounted onto another piece of paper and the mount has been painted in keeping with the original painting, very minor foxing and the colours are somewhat 'browned'.

A Chinese ink and watercolour on paper scroll painting depicting birds resting on branches, Attributed to Wang Xuetao, 27.5 by 62cm.

A Chinese landscape scroll painting attributed to Huang Shanshou (1855-1919) in Tang Yin’s (1470-1524) style, a Chinese ink and watercolour on paper scroll, 68 by 135cm.

The United Provinces Exhibition Allahabad 1910 medallion, by Goldsmith and Silversmiths Company London, awarded to Miss Warleigh for watercolour painting, 6cms diameter

Ephemera.- Collection, including (1) a copy letter, Spanish Town, Jamaica, 1799, from O'Connor to Eliza P sending condolences and an account of the death of her brother, "we were then in our passage from Martinique to St Domingo... I requested Captain Sherry to run along side of the ship on board of which Dr Smith was, he did so, and went on board, but as the sea was running very high, Dr Smith, who is a very heavy unwieldy man, dared not venture, which induced me to apply to the Roebuck, man of war for her surgeon... followed by Dr Smith, who staid till that melancholy period" (2) a pen and ink and watercolour in the style of Gillray (3) a letter from a chimney sweep, "they want seven or eaight chimneys swept" (4) a worn small oil painting on vellum of a lady and two men (5) a letter on behalf of Princess Mary inviting a lady to the Mansion House to meet Queen Mary at an afternoon party of Queen Mary's London Needlework Guild; and a small quantity of other ephemera, including 2 tradesmen's bills, hand-coloured engraving etc., folds, browned, some with wear, v.s., v.d. (sm. qty).

* NORMAN ORR (SCOTTISH 1924 - 1993), HARE watercolour on paper, signed and dated '73mounted, framed and under glassimage size 35cm x 48cm, overall size 55cm x 67cm Note: Norman Orr, born in Edinburgh in 1924, was considered to be one of Scotland's leading artists of Scottish Wildlife and folklore. After serving in the Royal Marines during World War II, he became a prominent crystal and glassware engraver, later turning more of his attention to drawing and painting. Norman Orr has been the subject of several personalised television documentaries and was in his later years invited by a member of the Rockefeller family to visit the USA. Examples of Norman Orr's work have been presented to Her Majesty The Queen, as well as other members of European Royal families. Orr rarely exhibited his work and almost all his larger paintings were private commissions. In The Scottish Contemporary Art Auction of 15th March 2017, lot 20 "Loch Garten Osprey" an oil by Norman Orr sold for £1300 (hammer).

DANIEL GOODWIN (AUSTRALIAN b. 1947), OUTBACK acrylic on canvas board, signed and dated '99framed and under glass image size 46.5cm x 56cm, overall size 56cm x 66cm Note: Daniel Goodwin was born in 1947 at Ernabella, which is a community located approximately 30kms south of the South Australian/Northern Territory border. He lived in Alice Springs also for many years and lived with the Namatjira family where he was taught how to paint by the sons of the famous Albert Namatjira. This is where his more European landscape style of painting came from. His work has featured in many exhibitions and he won "Best Aboriginal Painter of the Year" in New South Wales as well as winning in 1968 the "Adelaide Aboriginal Artist" award for his watercolour "Paterson Ranges in Western Australia". Dan's paintings have been sold to people from all around the world, with one large painting sold in 2001 to an overseas buyer for $125,000. An exhibition of Dan's works was held in Melbourne in 2004, opened by Governor General, Major Michael Jeffrey.

* 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.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), GRAND CASCADE, PARIS oil on board, signed, titled label versoframed and under glassLabel verso: Roger Billcliffe Gallery, Glasgow.image size 36cm x 18cm, overall size 48cm x 30cmNote: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.Condition is good overall with no visible or known issues.

* NEIL MACDONALD RSW RGI PAI, PROCESSION oil on canvas, initialled, titled label versoframed and under glassimage size 111cm x 76cm, overall size 125cm x 89cm Handwritten artist's label verso.Note: Neil Macdonald has been the recipient of many awards including 2013 Elected RSW (Royal Scottish Society of Painters in Watercolour); 2013 Joe Hargan Award, Maclaurin Fine Art Exhibition, Ayr; 2013 Elected RGI (Royal Glasgow Institute of Fine Arts); 2012 The Smithy Gallery Award (PAI); 2012 Diploma of the Paisley Art Institute; 2011 Robert Innes Award - Scottish Drawing Competition; 2009 Discerning Eye, London- Scottish Regional Winner; 2009 Charles Jamieson Award PAI; 2008 University West Scotland Award PAI; 2006 EDC Ann Stevenson Memorial Award; 2005 EDC Purchase Prize; 1997 Contemporary Art Prize (Eton) Paisley Art Institute; 1981 David Cargill Travelling Scholarship (Italy and Belgium); and 1979 William Shanks Painting Prize. Neil MacDonald trained at Glasgow School of Art from 1975 until 1980, where he developed his considerable skills as a painter and consummate draughtsman. He is drawn to locations that exert historic and mythic presence, exploring the lyrical narrative of natural sites and strong bold shapes of castles, old townships and harbours. He does this through distortion of perspective, invention and editing, aiming to capture an essence of the structure or place. Colour is used in an emotive way to heighten the sense of mood, applying each layer upon layer of paint in a divisionist manner until a unity of statement is realised as the image emerges, revealing the subject’s unique sense of place.Condition is good overall with no visible or known issues. Initials are on the bottom right edge of the canvas. Additional images have been uploaded to our website to show this.

* JENNY MATTHEWS RSW (SCOTTISH b. 1964), LOMBOK SHELL BASKET WITH BATIKS watercolour on paper, signed, titled label versomounted, framed and under glassimage size 60cm x 51cm, overall size 83cm x 75cm Handwritten label versoExhibition label verso: Mixed Exhibition January 1998, The Edinburgh Gallery.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 20 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 was the main artist feature in ‘Homes and Interiors Scotland’ magazine Jan-Feb 2005. Her paintings are in the collections of Adam & Co plc, Brodies WS, Hewlett Packard, Ian Rankin and Miranda Harvey, Institute of Chartered Accountants of Scotland, Murrayfield Hospital, Paintings in Hospitals, Walter Scott & Partners, Freshfields Bruckhaus Deringer (London) as well as in private collections worldwide.

* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950) BLUE STILL LIFE watercolour on paper, signed, titled label versoframed and under glassimage size 16.5cm x 16.5cm, overall size 33cm x 33cmLabel verso: Roger Billcliffe, GlasgowNote: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.

A framed and glazed 19th century English school watercolour painting of women outside a thatched cottage. Written on back of the frame E Burch. (signed under mount ). Frame size approx. 38 x 44cm.

King Solomon's Mines - A vintage 20th century watercolour & gouache on board original artwork painting for the Purnell edition of King Solomon's Mines. Signed with paper label to verso. Measures approx. 55cm x 75cm.

Portfolio of Original Mounted Watercolour Painting and Sketches by M.E. Goss

Fanny Mary Minns (aka Frances Mary Minns) 1847-1929 - Isle Of Wight-born artist. An unseen sketchbook of studies by Minns. The inner board signed ' FM Minns -Edinboro August 1900 '. The book features several finished and unfinished sketches, largely annotated by Minns noting details of the subject or location. Sketches of note include; Holy Loch, Lay's Yard Colchester, On Cowes Pontoon (studies of people), Court Chapel Dresden, Leopold Vienna, Hungarian Shepherd and many others. Some coloured. Fanny Mary Minns, was born at Node Hill, Carisbrooke, Isle of Wight, Hampshire in 1847, sixth and youngest child of William Minns, partner in the dry cleaning and dyeing business of Bright and Minns, and his wife Mary née Bright, who married at Niton, Hampshire on 28 March 1836. The dying business lasted for some 164 years and allowed Fanny, the luxury of training as an artist. In 1851, a 4 year old, living at Node Hill, Carisbrooke, Isle of Wight with her parents, 57 year old William of Southampton and 38 year old Mary, and five siblings, Jane 13, William 12, Charles 10, Walter 8 and Kate 6, all born at Newport. It seems probable that Fanny received painting lessons from Ellen Cantelo (c.1825-1898) of Carisbrooke, who made her living as an artist. As the Royal Academy in London was closed to women until 1862 Fanny proceeded to Dresden Art Academy and she established herself as a teacher of painting. Her father died in 1852 and Fanny continued to reside with her widowed mother on the Isle of Wight. Working in watercolour she produced a huge number of local landscapes, working 'al fresco' to capture the immediacy of light and colour. She also did hasty sketches for further work in her studio and her continental travels certainly took her to Switzerland where Alpine scenes, including the Matterhorn are among her works. A member of the Ipswich Art Club 1889-1890 and exhibited from Glen Cottage, Isle of Wight in 1889, three pictures, 'Roses', 'In the New Forest, Sunset' and 'Alpine Anemones' she also exhibited two items of earthenware but she exhibited widely, including the Birmingham Art Gallery, the Walker Gallery in Liverpool, the Royal Society of British Artists and the Society of Women Artists. As well as teaching painting, Fanny received commissions to illustrate books from several publishers, including for 'The Silence of Dean Maitland', by local author Maxwell Gray (Mary Gleed Tuttiett), and illustrated 'Romance of the Hill Station and Other Stories' by Mrs H S Lerverton and Mary's landscapes caught the attention of Ruddock and Co, providing views of the Island and Dorset in the 'Artist' series of postcards. In 1911, she held an exhibition of her work at the Unity Hall in Newport where she displayed 110 paintings. Mary travelled in search of new subjects until the end of her life. She was of Langsnek, Medina Avenue, Newport when she died Ryde, Isle of Wight on 11 May 1929, aged 82, and buried beside her mother at Mountjoy Cemetery in Carisbrooke, she was unmarried. She is sometimes recorded as Frances but her birth and death records are Fanny. (From www,suffolkartists.co.uk/index.cgi?choice=painter&pid=1909)

Large scale watercolour/tinted engraving depicting British, Indian and Sikh soldiers parading before the Queen and the Prince of Wales at Windsor, After R Caton Woodville Queen and Empire, inscribed "From the original painting presented to Her Majesty the Queen by The Association of Royal Warrant Holders in commemoration of Her Diamond Jubilee 1897", Engraving published by Henry Graves & Co, 1897, in gilt slip and oak frame under glass, 50" x 35" overall

AN OIL PAINTING OF A SEASCAPE, WATERCOLOUR OF A CHURCH, PEN AND INK DRAWING AND A FLORAL PRINT

G Souter - An early 20th century watercolour painting by G Souter. To depict a highland landscape with figures in the foreground. Framed and glazed. Measures approx; 33cm x 42cm.

Marjorie Cole - A 20th century circa. 1930's watercolour portrait painting to depict an unmanned female sitter with red hair tied back, dressed in a blue satin robe, addressing the artist with her gaze. Unsigned. Measures 36cm x 28cm.

George Arthur Fripp R.W.S. (British 1813-1896) "Near Reading" Signed and dated 1870, titled on fragmented label verso, watercolour.20.5cm x 47cm (8in x 18.5in)The painting is in good, original condition. The paper has browned lightly across the sheet and there are one or two minor spots of foxing. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Ebenezer Wake Cook (British 1843-1926) Figures on the river bank Signed and dated '79, watercolour.47.5cm x 71cm (18.75in x 28in)The painting is in very good, original condition with no obvious faults to report. The painting is ornately reframed and glazed.

Herbert Moxon Cook (British 1844-1928) Coastal view with figure and boats Signed and dated 1886, watercolour.38cm x 54.5cm (15in x 21.5in)The painting is in good, original condition. There is some light yellowing across the sheet with some minor spots of foxing. The painting is ornately framed and glazed. The frame has some minor knocks and losses.

T.M. Richardson Junior (British 1813-1890) "Highland Homes" Initialled and dated 1887, titled on the mount, watercolour and pencil.12cm x 16.5cm (4.75in x 6.5in)The painting is in very good, original condition. There is some very light time staining and browning around the edges of the paper near the mount board. There are one or two spots of foxing across the mount board. The painting is ornately framed and glazed.

Sir Alfred East R.A., R.I., P.R.B.A., R.E. (British 1849-1913) "The Landing Steps" Signed, titled on exhibition label - 'The Fine Art Society Ltd, London, Memorial Exhibition, 1918' verso, watercolour.50cm x 67.5cm (19.75in x 26.5in)The painting is in good, original condition. There are some spots of foxing and areas of light time staining and yellowing across the paper. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

D.A. Hudd (British 19th/20th century) "On the Thames Embankment" Initialled and dated '04, titled on the mount, watercolour.23.5cm x 33.5cm (9.25in x 13.25in)The painting is in very good, original condition. There are some areas of light time staining and browning across the paper. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

English School (19th century) Portrait of Major E.S. Kearsley, aged 46 Unsigned, dated 1866 with residences at 'The Height, Bolton' and 'Hunting Box, Hartford, Cheshire' on labels verso, oval, watercolour and pencil.25cm x 20cm (9.75in x 8in)The painting is in good, original condition with strong colours. There is a central oval of browning behind the figure and some spots of foxing. The painting is ornately framed but not glazed then set within a glazed box frame. The outer frame has some minor scuffs and knocks commensurate with age.

George Anderson Short (British 1856-1945) "Evening Meal near Appleby" Signed, titled on mount, watercolour and ink.20cm x 24.5cm (8in x 9.75in)The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Sam Bough R.S.A, R.S.W. (Scottish 1822-1878) "Tantallon Castle, Scotland" Signed and dated 1865, watercolour.29cm x 39.5cm (11.5in x 15.5in)The painting is in good, restored condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Paul Marny (French/British 1829-1914) "Negreville, Normandy" Signed and titled, watercolour.29cm x 46.5cm (11.5in x 18.25in)The painting is in good, original condition. There are some spots of foxing and areas of browning across the paper. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

A Japanese watercolour painting on silk, probably early 20th century, depicting a seated female musician playing a shamisen, two-character black mark and red seal to lower left corner, 99cm x 50cm, framed and glazed.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 Indo-Persian watercolour painting, 19th century, depicting a flowering tree and birds within a floral and gilt banded border, 25cm x 16cm, framed.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.

Two Indian Mughal School miniature watercolour paintings, 19th century, each depicting a full-length portrait of a maharaja, both signed, 33cm x 20.5cm and 28.5cm x 16.6cm, together with another painting of a Mughal prince holding a hawk, 26.2cm x 16.2cm, all 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 miniature watercolour painting, 19th century, depicting an ornithological study of a colourful bee-eater perched on a blossoming branch, within a border of panelled script, framed by scattered polychrome flowers, 27.7cm x 20.5cm, unframed, together with another ornithological study of a bird within a floral border, 22.2cm x 32.2cm, 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.

After Arthur L CoxFigures in front of a cottageA printSigned in pencil to the marginTogether with three other prints, The Love Letter, The Golden Wedding and Fox and Geese, an oil painting of a coastal scene signed C Nicholson, a print of Solva and a floral watercolour initialled D.F.

A North American watercolour of a Native American lady, indistinctly signed in the bottom right-hand corner, 23 x 37cm, framed, and a theorem still life painting, by Donna S Smith, dated 1994, 29 x 24cm (2)

Richard Harry Carter (1839-1911)Tintagelsigned 'R H Carter/1889' l.c., watercolour heightened with white38 x 69.5cmThe location of this painting appears to be an imagined location combining elements of several places. The harbour is based on Trevaunance Cove, St Agnes, which was washed away in 1919. The gantry was usd for transporting supplies like coal and tin. The cliff arch is based on Perranporth and the skyline on Tintagel.Condition Reportoverall: 63.5 x 94cmThere is some fadig in places and acid discolouration to the paper, most noticeable in the sky. The edges of the watercolour are apparent within the framing and it is therefore not clear how the watercolour has been secured. Unexamined out of frame.

Mrs Robertson Blaine (c.1849)'The Lake of Tiberias'signed with monogram, inscribed and dated 'The Lake of Tiberias. 4th May 1849.' l.l., watercolour33.5 x 49.5cmA later label verso directs us to the Art Journal, 1859, page 84.An oil painting by the artist, 'A Halt of Travellers near Petra' was purchased by Queen Victoria as part of the Royal Patriotic Fund in 1854. The fund was set up to benefit widows and orphans of soldiers who had perished in the Crimean War.Condition Reportoverall: 57.5 x 72cmIn generally good order. Unexamined out of frame.

Edward Lear (1812-1888)'Hebron', figures and camels, the city beyond, c.1858signed 'Edward Lear del.' l.l., inscribed 'Hebron' l.r., pen and ink and watercolour heightened with white15.4 x 23cmProvenance: With Leger Galleries, London, by December 1982.Edward Lear travelled extensively around Europe, the near east and as far as India. He visited Hebron in April 1858, passing through Bethlehem en route to Petra. In a letter sent to Lady Waldrave on 27 May 1958 from Damascus, Lear discusses various compositional ideas for executing a painting for her. He says of Hebron: “….. there is Hebron, which is very particularly a Hewbrew antiquity, & is besides sufficiently picturesque to form a good picture: though why Abraham choose to live there I cannot think: I found it abominably cold & wet, & besides, they threw stones at me whenever I drew, so that I wished the whole population in Abraham’s bosom or elsewhere 20 times a day.”Condition Reportoverall: 38 x 44.5cmThe edges of the watercolour are apparent within the framing and it is therefore not clear how the watercolour has been secured. Some time staining. Unexamined out of frame.

▴ John Strickland Goodall RBA RI (1908-1996)'The Canary'signed 'John S.Goodall' l.l., pen and ink and watercolour heightened with white18 x 15cmCondition Reportoverall: 40 x 35.5cmWell presented and ready to hang. There is some light staining to the reverse, however this is not evident from the front of the painting. It has been stuck down around the edges to the top of the inner mount, please see images.

CONWY VIEW watercolour studies (2) to include S HEY - showing Conwy Castle and boats from the Benarth shore, label verso reads 'signed watercolour Conway Castle, inscribed on back of painting November 9th, 1909 King's Birthday, S Hey, an artist who lived in Glan Conwy and exhibited five works at the Royal Cambrian Academy 1905-12, 27.5 x 42.5cms and L T SUTCLIFFE - twin and three master sailing ships moored on and near the shoreline close to the Marine Walk Conwy, the Vardre showing in the background, 20 x 32cms, both bear signatures lower left corners

A watercolour portrait miniature painting on paper in a gilt and black painted wooden frame depiciting a young woman, signed 'T. Wheeler May 1883' lower right hand in pencil, also signed and marked to the back 'Watercolour portrait of Harriot Va? by T. Wheeler May 1833', 19cm x 15cm; together with one sulphide cameo incrustation of The Duke of Wellington, indistinctly marked to the reverse, in a black wooden frame with a brass border, 12.5cm x 10cm; and a small watercolour portrait on paper in a gilt and black oval frame, 12cm x 9.5cm (3)Overall handled condition, showing age, with peeling and marks to the reverse paper on the frames of all.