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OIL PAINTING - VICTORIA COTTAGE & GARDEN BY WILSON FRAMED, WATERCOLOUR - RURAL VILLAGE SCENE BY BARBARA GLASS 06, FRAMED

GILT & WATERCOLOUR PAINTING OF A CEREMONIAL ELEPHANT WITH HAND COLOURED, DECORATIVE BORDER TOGETHER WITH A FINELY DETAILED TEXTILE NEEDLEWORK OF THE ELEPHANT GOD, GANESH, LARGEST SIZE 14” X 12” [2]

French school of ca. 1780."Greek Temple".Ink and watercolour on paper glued to cardboard.With faults and damp stains.Provenance: private collection conceived from the 70's between London and Madrid.Measurements: 29,5 x 46 cm.Ink and watercolour on paper in which a tempo is represented, that after its dimensions could be the Temple of Hephaestus in the city of Athens. The term "vedutism" itself defines a pictorial genre based on the representation of places in which buildings are present, sometimes populated by a more or less numerous quantity of characters. The protagonist of the painting is therefore the urban landscape, always depicted according to the laws of perspective.

Two Japanese woodblock painting books, one with Japanese characters, script and flowers, the other various Japanese scenes with some watercolour paints (2) 

A packet of assorted ephemera, including Sir John Pollock (1878-1963), playwright, proof copy of his autobiography, published 1950, with corrections in his own hand, and an agreement to publish, signed by John Murray, loosely included; a quantity of GPO/Post Office greetings telegrams circa 1930's-1970's, artists include Edward Ardizzone (Birthday Greetings 1967), two copies with envelopes, Norman Thelwell, Graham I. Thompson, Leslie Holland, J.M. Hyde etc; two engraved advertising lottery puffs, Hornsby & Co, 1806, and Sivewright, 1820; an engraved ticket for Order of Bucks Annual Ball, 181-; Air Mail routes etc leaflet 1928; a Victorian pen, ink & watercolour painting of a postman, approx 28 x 21cm, mounted on board, name in ink verso "Beatrice Mary Rumney"

JAN KNAP (Czech Republic, 1949).Untitled.Ink and watercolour on paper.Damaged frame.Signed on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 40 x 53 cm; 52 x 67 cm (frame).Jan Knap studied architecture in Prague and painting at the Academy of Fine Arts in Düsseldorf between 1970 and 1972. In the 1970s he moved to the United States (where he remained from 1972 to 1982, living mostly in New York). In the late 1970s, together with Milan Kunc and Peter Angermann, he founded the "Normal Group": an anomalous group of three resident artists, Kunc in Cologne, Angermann in Nuremberg and finally Knap, at least officially, in Chrudimi and New York ... . In the 1980s, Knap's pilgrimage continued: first he studied theology in Rome from 1982 to 1984, then from 1984 to 1989 he lived and worked in Cologne, and finally from 1989 to 1992 he moved to Modena. He now lives and works in Cologne, Modena and the Czech Republic.

JAN KNAP (Czech Republic, 1949)."Interior".Watercolour and ink on paper.Signed on the back.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 40 x 53 cm; 51 x 67 cm (frame).Jan Knap studied architecture in Prague and painting at the Academy of Fine Arts in Düsseldorf between 1970 and 1972. In the 1970s he moved to the United States (where he remained from 1972 to 1982, living mostly in New York). In the late 1970s, together with Milan Kunc and Peter Angermann, he founded the "Normal Group": an anomalous group of three resident artists, Kunc in Cologne, Angermann in Nuremberg and finally Knap, at least officially, in Chrudimi and New York ... . In the 1980s, Knap's pilgrimage continued: first he studied theology in Rome from 1982 to 1984, then from 1984 to 1989 he lived and worked in Cologne, and finally from 1989 to 1992 he moved to Modena. He now lives and works in Cologne, Modena and the Czech Republic.

JAIME ALEDO (Murcia, 1949)."Weightless and gentle 1", 2003.Watercolour on paper.Signed, dated and titled in the lower area.Provenance: private collection conceived since the 70s between London and Madrid.Size: 29 x 20,5 cm; 31 x 22,5 cm (frame).Jaime Aledo is an artist born in Cartagena, Murcia, who began his training studying Philosophy and Letters at the Complutense University of Madrid. He later obtained his doctorate in Fine Arts at the Complutense University of Madrid. His first exhibition took place in the Tambor Gallery in Madrid and since then he has had numerous national and international exhibitions, in places such as Paris, California, Munich, Rome, Athens, Algiers, Warsaw and Cairo among others. At first his painting was strongly influenced by Luis Gordillo, but since the 70's he has made a stylistic opening that turns his work into a production of greater stylistic eclecticism, always focused on the conceptualization of the form. His work is represented in important centres of artistic interest, including the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Instituto Valenciano de Arte Moderno, Valencia, the Centro Gallego de Arte Contemporáneo, Santiago de Compostela, the Graphische Sammlung Albertina, Vienna, the Biblioteca Nacional, Madrid, the Museo de San Clemente, Cuenca, Fundación La Caixa. The Testimonio Collection, Barcelona, the Antonio Pérez Foundation. Cuenca, the Coca-Cola España Foundation, Madrid, the Universidad Nacional de Educación a Distancia, Madrid, the Universidad de Alcalá de Henares, Madrid and the Universidad Complutense, Madrid.

JAIME ALEDO (Murcia, 1949). "Weightless and gentle 3", 2003.Watercolour on paper.Signed, dated and titled in the lower area.Provenance: private collection conceived since the 70s between London and Madrid.Size: 29 x 20,5 cm; 31 x 22,5 cm (frame).Jaime Aledo is an artist born in Cartagena, Murcia, who began his training studying Philosophy and Letters at the Complutense University of Madrid. He later obtained his doctorate in Fine Arts at the Complutense University of Madrid. His first exhibition took place in the Tambor Gallery in Madrid and since then he has had numerous national and international exhibitions, in places such as Paris, California, Munich, Rome, Athens, Algiers, Warsaw and Cairo among others. At first his painting was strongly influenced by Luis Gordillo, but since the 70's he has made a stylistic opening that turns his work into a production of greater stylistic eclecticism, always focused on the conceptualization of the form. His work is represented in important centres of artistic interest, including the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Instituto Valenciano de Arte Moderno, Valencia, the Centro Gallego de Arte Contemporáneo, Santiago de Compostela, the Graphische Sammlung Albertina, Vienna, the Biblioteca Nacional, Madrid, the Museo de San Clemente, Cuenca, Fundación La Caixa. The Testimonio Collection, Barcelona, the Antonio Pérez Foundation. Cuenca, the Coca-Cola España Foundation, Madrid, the Universidad Nacional de Educación a Distancia, Madrid, the Universidad de Alcalá de Henares, Madrid and the Universidad Complutense, Madrid.

JAIME ALEDO (Murcia, 1949). "Weightless and gentle 4", 2003.Watercolour on paper.Signed, dated and titled in the lower area.Provenance: private collection conceived since the 70s between London and Madrid.Size: 29 x 20,5 cm; 31 x 22,5 cm (frame).Jaime Aledo is an artist born in Cartagena, Murcia, who began his training studying Philosophy and Letters at the Complutense University of Madrid. He later obtained his doctorate in Fine Arts at the Complutense University of Madrid. His first exhibition took place in the Tambor Gallery in Madrid and since then he has had numerous national and international exhibitions, in places such as Paris, California, Munich, Rome, Athens, Algiers, Warsaw and Cairo among others. At first his painting was strongly influenced by Luis Gordillo, but since the 70's he has made a stylistic opening that turns his work into a production of greater stylistic eclecticism, always focused on the conceptualization of the form. His work is represented in important centres of artistic interest, including the Museo Nacional Centro de Arte Reina Sofía, Madrid, the Instituto Valenciano de Arte Moderno, Valencia, the Centro Gallego de Arte Contemporáneo, Santiago de Compostela, the Graphische Sammlung Albertina, Vienna, the Biblioteca Nacional, Madrid, the Museo de San Clemente, Cuenca, Fundación La Caixa. The Testimonio Collection, Barcelona, the Antonio Pérez Foundation. Cuenca, the Coca-Cola España Foundation, Madrid, the Universidad Nacional de Educación a Distancia, Madrid, the Universidad de Alcalá de Henares, Madrid and the Universidad Complutense, Madrid.

AGUSTÍN REDONDELA (Madrid, 1922)."Montiel".Watercolour on paper.Signed in the lower right corner. Titled in the centre.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 17 x 24 cm; 52 x 43 cm (frame).Agustín Redondela captures in this canvas a scene of sober chromatism, expressive and contained at the same time, of sketchy and forceful forms, where the volumes are constructed on the basis of planes, defined and almost cézannian profiles and a fluid, changing and very nuanced colour, which determines a cold and clear atmosphere. The space is organised in two planes, with the group of characters in the first, in front of the monolithic houses, and in the background the mountain range that rises like a wall enclosing the space, its rounded peaks outlined against a leaden sky of almost white blue tones.A mainly self-taught painter, considered one of the most original Spanish landscape painters of the 20th century, Agustín González Alonso trained with his father, the painter and scenographer José González "Redondela". After the Civil War he attended classes at the Madrid School of Arts and Crafts with the landscape painter José Ordoñez, and in 1945 he sent a painting to the National Exhibition of Fine Arts for the first time, signed with the pseudonym Redondela. That same year he held his first personal exhibition at the Estilo gallery in Madrid. It was at this time that he came into contact with the Madrid School, and in 1947 he was selected to exhibit at the Salón de los Once de la Academia Breve e Crítica de Arte de Eugenio d'Ors. In the fifties Redondela won a grant from the Catherword Foundation in Philadelphia (1954), the National Painting Prize (1953) and the first medal at the National Exhibition (1957). Throughout his career he combined painting with stage design, working for plays by Jacinto Benavente, Joaquín Calvo Sotelo, Dodie Smith and Peter Ustinov, among others. He also did some work as an illustrator, including a luxurious edition of Cela's "Viaje a la Alcarria" in 1978. In 1996 the Real Academia de Bellas Artes de San Fernando awarded him the José González de la Peña prize, and two years later the Centro Cultural de la Villa de Madrid dedicated an important anthological exhibition to him. He is currently represented in the Museum of Fine Arts in La Coruña, the Museum of Contemporary Spanish Landscape in Priego de Córdoba, the Museum of Fine Arts in Bilbao, the Camón Aznar Museum in Zaragoza, the museums of Buenos Aires, Caracas and Havana and the Oswaldo Guayasamín House-Museum in Quito, among other public and private collections.

ABRAHAM LACALLE (Almería, 1962).Untitled, 1998.Watercolour, Indian ink and pen on paper.With sticker of the Galería Fúcares (Madrid) on the back.Signed and dated in the lower right-hand corner.Provenance: private collection conceived since the 70s between London and Madrid.Measurements: 65 x 50 cm; 67 x 52 cm (frame).Abraham Lacalle's painting is usually characterised by a multiplicity of elements, with contrasting tones of colour and shapes that create an apparently chaotic whole. However, in this case he resorts through synthetism to a single hybrid figure between the human and the vegetable. Black and white are used to combine a certain sobriety, but if we go deeper into the work we can appreciate the author's characteristic style. The multiplicity of forms, straight lines, dots, complete colour fields and the use of the biros are examples of this.Abraham Lacalle began his career in the 80's, in 1994 he won the scholarship for artistic promotion of the Casa de Velázquez. In his canvases there are references to great masters such as Duchamp, Picasso, Mondrian or Philip Guston, using a special subjectivity in the treatment of colour. In turn, there are ironic and sarcastic references to the great artistic and literary movements of the 20th century and an acid social criticism. The painter has been exhibiting in ARCO, through different galleries, since 1987 and has been collaborating for years with the Malborough Gallery. Works in collections: Museo Nacional Centro de Arte Reina Sofía, Madrid; Fundación Coca-Cola España; Fundación Luis Cernuda, Seville; Prosegur, Madrid; Fundación Santander Central Hispano; Universidad de Salamanca; Casa de Velázquez, Madrid; Colección Testimonio, Caixa de Pensiones, Barcelona...

HERNANDO VIÑES SOTO, (Paris, 1904 - 1993).Untitled, 1931.Watercolour on paper.Signed and dated in the lower left corner.Provenance: private collection conceived since the 1970s between London and Madrid.Size: 31 x 24 cm; 44 x 52 cm (frame).Born into an upper-class bourgeois family, Viñes was introduced into the Parisian artistic circle by his uncle, the pianist and composer Ricardo Viñes. During the First World War he settled in Madrid, returning to Paris in 1918. There Pablo Picasso, a friend of his uncle's, after seeing his first drawings, advised him to continue along the same path and to perfect his knowledge as a self-taught artist. Viñes followed Picasso's advice, first entering the Academy of Sacred Art in Paris, where he was a pupil of Maurice Denis and Georges Desvallieres and then, in 1922, completing his training with André Lothe and Gino Severini. The following year he participated as a decorator in Manuel de Falla's "El retablo de Maese Pedro" and exhibited for the first time at the Salon d'Automne. That same year, 1923, he came into contact, through his friend Manuel Ángeles Ortiz, with the circle of young Spanish artists living in Paris: Francisco Bores, Luis Buñuel, Joaquín Peinado, Francisco García Lorca, Pancho Cossío, Rafael Alberti, Ismael de la Serna, etc. At the age of twenty he decided to devote himself fully to painting, and immediately obtained the support of two important critics, Tériade and Zervos, the latter being the director of "Cahiers d'Art". From then on he exhibited regularly at the Percier and Max Berger galleries in Paris. After the Second World War a very difficult period began for the painter, in which, despite numerous group and solo exhibitions, he did not achieve the notoriety that his brilliant beginnings had promised. It was not until 1965 and the major retrospective devoted to him by the Madrid Museum of Modern Art that he was finally recognised as one of the most brilliant painters of his generation. From that moment on, exhibitions followed one after the other in leading galleries all over Spain, such as Théo (Madrid and Valencia), Dalmau (Barcelona) and Ruiz (Santander). In the early eighties, important retrospective exhibitions were held at the Casa de España in Paris, the Museum of Fine Arts in Santander and the Bonnat Museum in Bayonne. In 1988 he was awarded the Gold Medal of Arts and Letters by King Juan Carlos I. At the same time, his international fame grew as a result of exhibitions held in Germany, Denmark, the United States, Czechoslovakia, England and Japan. Far from schools and any hint of boastfulness, Viñes's work continued its path in France, and museums all over the world began to acquire his works. He is currently represented in the Reina Sofía Museum in Madrid, the Georges Pompidou Centre in Paris, the Museums of Albi, Castres and Saint-Ouen in France, the Fine Arts Museums of Tel-Aviv, Buenos Aires and Prague, the Patio Herreriano Contemporary Art Museum in Valladolid and the ARTIUM in Vitoria, among many others.

LUIS FERNÁNDEZ LÓPEZ (Oviedo, 1900- Paris, 1973)."Female Figure", 1939.Watercolour and pencil on paper.It has slight damage to the paper in the corners.There is a slight yellowing in the lower part of the paper.Signed in the lower left corner. Dated in the upper right corner.Provenance: private collection conceived since the 1970s between London and Madrid.Measurements: 65 x 50 cm.The present drawing shows the clear influence of Picasso's work, especially in the torso of the protagonist and in the faceted way in which the artist treats the face. However, Fernández's personality transcends cubism, providing a lyrical and symbolic value of great delicacy. This work is part of an exceptional and unique period of the artist's career in which he approached an aesthetic transition in which the consolidated characteristics of his artistic production can be appreciated, although from a completely new perspective. Influenced by the cruelty of the Civil War, this period shows a greater reflection of violent, tragic and emphatic forms.An Asturian painter belonging to the Parisian avant-garde, Luis Fernández left his homeland when he was only nine years old, after being orphaned. He then moved with his brothers to Madrid, where his maternal grandfather lived. His grandfather died shortly afterwards, however, and Fernández had to move again, this time to Barcelona, to his maternal uncle's house. His maternal uncle made him abandon his studies, and he entered a jewellery workshop as an apprentice at a very young age. However, his artistic vocation had already awakened, and in 1912 he enrolled in the evening classes at the Llotja School. In 1924, when he finished his studies, Fernández went to Paris, where he became part of the Montparnasse artistic milieu while earning his living by working in a printing house. He came into contact with leading figures of the time such as Brancusi, Braque, Ozenfant and Julio González, and also with the avant-garde artistic movements then developing in the heart of Paris. He first experimented along the lines of purism derived from Cubist language, later evolving towards Neo-Plasticism and, finally, Surrealism. Finally, in 1933, he left his job to devote himself fully to painting. During this period he became friends with Picasso, with whom he collaborated on several projects and whose work was to exert a key influence on his aesthetic. However, after a period of experimentation marked by different influences, Fernández found the maturity of his work in a personal and hermetic plastic universe, the result of slow, analytical work that went beyond the formal to delve into the spirit of objects. The result is a work in which each brushstroke, each stroke, is the fruit of profound meditation. However, the scarcity of his output and poor relations with art dealers meant that Fernández's career was far removed from the financial success enjoyed by other artists in Paris at the time. In his last years, however, the critics recovered his work for the public, and in 1972, a year before his death, he was the subject of an important anthological exhibition held at the National Centre of Contemporary Art in Paris. More recently, following the centenary of his birth, successive exhibitions of his work were held in Spain, and Alfonso Palacio, professor of art history at the University of Oviedo, dedicated his doctoral thesis to him, the basis for a future catalogue raisonné of his work. Luis Fernández is currently mainly represented in the Museo de Bellas Artes de Asturias, the Museo Nacional Centro de Arte Reina Sofía, the Patio Herreriano in Valladolid, the Museo de Bellas Artes de Bilbao and the Telefónica Collection, among other important collections.

JOHN KNAPP-FISHER (BRITISH 1931-2015) AN UNTITLED LANDSCAPE AT DUSK, signed bottom right, dated 1987 bottom left, watercolour on paper, approximate size 7cm x 33cm, mounted, framed and glazed, Condition Report: the painting is in good condition, frame marked in places (artist resale rights apply)

DAVID WESTON (BRITISH 1935-2011) 'THE MOST PERFECT AUTUMN MORNING', a study of gates and steps leading to a walled garden, signed and dated 1985 bottom right, titled verso, watercolour on paper, approximate size 25cm x 36cm, mounted framed and glazed, Condition Report: the painting is in good condition, small marks to the frame (artist resale rights apply)

Wales Margaret Hall Watercolour Painting on Board. Holyhead. View of Welsh White Cottages on an overcast summer evening, overlooking a sheltered bay with deeper water offshore. Likely North West Coast of Anglesea. Signed in bottom right corner. No damage apparent, board measures 43cm x 26.5cm.Paentiad Dyfrlliw Margaret Hall ar y Bwrdd. Caergybi. Golygfa o Welsh White Cottages ar noson gymylog o haf, yn edrych dros fae cysgodol gyda dŵr dyfnach oddi ar y lan. Arfordir Gogledd Orllewinol Ynys Môn yn ôl pob tebyg. Wedi'i lofnodi yn y gornel dde isaf. Dim difrod i'w weld, mae'r bwrdd yn mesur 43cm x 26.5cm

19th century engraving, "Vessels - See System of Naval Architecture", depicting the side profiles of various sea-faring vessels, 36 x 22.7cm; R. Jones, "North Woolwich", depicting a tug boat and merchant vessels, watercolour, signed, titled and dated "October 1852", 8.2 x 12.7cm; miniature ship sketch, 4.2 x 4.2cm, naive painting of a sailing ship, oil on board, 29.5 x 26.5cm overall, and 3 other naval pictures. (7)

English School, 19th century, naive painting of the SS Hilda, a steamship owned by the London and South Western Railway. She was used on the Southampton - Channel Islands - St Malo service until she sank in 1905 with the loss of at least 125 lives. ink and watercolour, 16.2 x 29.1cm; and another naive watercolour of a sail boat, 13.2 x 18.8cm. (2)Condition Report:Has been folded/quartered crease to top left corner, 4cm tear to bottom left corner, damage near top right corner, 3.5cm tear half way down on right side and damage by flag, other tiny marks 

19th century European School, "Study of an Ancient Tree" watercolour painting, 25cm x 32cm, framed, mounted and glazed

19th century British Naive School, Summer scene, figures in the garden of a manor house, watercolour painting, indistinctly signed and dated 1897, 22cm x 33cm, maple framed and glazed

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

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

After Joseph Atkinson (Newcastle, 19th Century) "A view of Tan Field Arch in the county of Durham", inscribed "From the original painting of the late Joseph Atkinson of Newcastle upon Tyne, in the possession of Sir Matthew White Ridley Bar by whose permission this plate is engraved", watercolour tinted engraving, engraved by I C Stadler, published London, December 1 1904 by F Jukes, Howland Street, card mounted in Hogarth frame under glass, 76 cm x 64 cm overall

A mid 19th Century Victorian watercolour painting depicting a fleet of Naval warships on stormy seas. Large multi masted ship being most visible with smaller ships in distance, small barrel in water and guls above the ways. Signed by artist and dated 1843. Framed & glazed. Measures approx; 49cm x 62cm. (22.5cm x 34cm)

A mid 19th Century Victorian watercolour on paper painting depicting a landscape farmyard scene with windmill and sheep in grassy field below a blue cloudy sky. Signed by artist & titled (illegible). Framed & glazed. Measures approx frame 57cm x 74m / artwork 33cm x 50cm.

William James Muller (1812-1845) - A 19th Century watercolour on paper painting depicting a view of the Purfleet river. Framed & glazed. Measures approx; 29cm x 35cm.

William James Muller (1812-1845) - A 19th Century watercolour on paper painting depicting a view from one of the windows Purfleet Thames Essex. Framed & glazed. Measures approx; 30cm x 37cm.

Helen Thornycroft (1848-1912) - A 19th Century watercolour on paper painting depicting a landscape scene with cottage in bright overgrowth beneath a blue cloudy sky. Framed & glazed. Measures approx; 29cm x 34cm.

Watercolour painting on paper of a hunting scene by Frances Fry - 38cm x 29cm & has slight crease down centre

Framed watercolour painting of an interior : Bolton school of art signed P Edward H Stott 1912 (reframed 1981) - 49cm x 35cm

Framed watercolour painting of some grouse flying over a heath by Richard Harrison - frame 57.5cm x 76cm

Framed 1946 watercolour painting of Springtime, Fryerning Rectory by Leonard D Womersley (frame 39cm x 44cm) t/w framed unsigned watercolour painting of a coastal scene

1920 framed watercolour painting of Lake St Clair Tasmania by William Haviland Lindley (1882-1969) - frame 30cm x 52.5cm

1927 framed watercolour painting of a seated gentleman by Frank Moss Bennett (1874-1952) - frame 55cm x 44cm

Georgian framed watercolour painting of George Capel Cure of Blake Hall, Ongar painted 21-Jan-1820 aged 75yrs - 39cm x 33cm

Framed 1895 watercolour painting of a harbour scene by M A Lawman after Copley Fielding - frame 54cm x 45cm

A group of framed and glazed pictures to include Gerry Baptist RWS, RE (b 1935) - Lily/Arum, two signed artists proof silkscreen prints, 41.5cm x 18cm, A Locke -a Victorian/Edwardian watercolour of two children playing by a pond with thatched cottages and garden behind, signed lower left, 37.5cm x 25cm, an impressionist oil on board of a tree on the banks of a river, unsigned, 59 x 59, a modern oil on board painting of a house and garden by trees and an estuary with boats, artist initials and date '09 to lower right and a continental oil painting

Print of a painting (Floral)- by Vernon Ward watercolour signed-measurements 48cm x 40cm framed good condition

Painting-Print-Riverside Watercolour- signed Faith Sheppard-framed-measurements 50cm x 35cm very good condition

Mark Fisher, Near Widdington, Essex,watercolour, unsigned, labelled verso, 25x36cm.Condition report:We have no provenance for the painting but please see additional uploaded images of the back. It is sealed in its frame.

MURIEL V.C. NUTTALL, WATERCOLOUR MINIATURE TITLED MIRANDA. TOGETHER WITH AN ENGLISH 19th C. SCHOOL OIL PAINTING OF FIGURES ON A GARDEN TERRACE OF A GRAND HOUSE (2)

WILLIAM CALLOW RWS (British, 1812-1908) ink & watercolour heightened with body colour - 'The Rialto Bridge, Venice' titled verso, Spinks label verso, signed to mount, 25 x 35cmsComments: slight tinting, whites appear slightly brown, minor fading, inscription on bottom left of painting (indistinct), multiple storm flies inside frame.

Saburosuke Okada ( Japanese 1869-1939)Watercolour on board depicting figures in a mountain landscape,In 1987 Okada became the first Japanese artist to receive government sponsorship to travel overseas and learn western painting techniques.He spent 5 years in Paris studying under Raphael Collin. Laterr becoming Professor at Tokyo Art School, a member of the Imperial Art Academy and was awarded The Order of Cultural Merit and The Order of the Scared Treasure.[50x58cm]

Five various art works to include Signed Elizabeth Gemmell limited edition block print titled 'Sharing with the Birds, Two antique coloured prints depicting junk boats and harbour scenes, Painting on silk and Watercolour by Rodney Russell

A 20th century South-east Asian watercolour and gilt painting, depicting the head of a deity, with line of black script and red seal mark to right margin, 67.5cm x 44cm, framed, Christie's receipt label to reverse. Provenance: from the estate of Jeannette and Wilfred Cass, Cass House, Goodwood, Chichester.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A 19th Century Chinese watercolour painting depicting a lord & lady seated on thrones with screen behind flanked by attendants to each side with kneeling figures in front. Framed and glazed. Measures approx; 25cm x 38cm.

F.H. Tyndale - A 19th Century Victorian watercolour painting landscape scene depicting Northbrook - On - Cherwell Nr Oxford with rural cottage scene, bridge and trees below a blue sky. Framed and glazed. Signed to lower west corner. Measures approx; 36cm x 46cm.

Spanish school of the last third of the 18th century."Portrait of Guardia de Corps de Carlos IV".Gouache on vellum.Bronze and wood frame, with faults.Measurements: 6,5 cm (vellum diameter); 10 cm (frame diameter).Portrait of an officer of the Guard of Corps of Charles IV, a type of troop of the royal house whose origin goes back to the French "Garde du Corps". It is a delicate miniature painting, a genre that developed in Europe from the 16th century onwards. They were mainly paintings that were embedded in objects such as medallions, table clocks or small boxes. They were executed in a wide variety of techniques, such as oil on copper, tin or ivory, gouaches on parchment or cardboard and, from the 18th century, watercolour on ivory. This delicate art was gradually lost from the second half of the 19th century, in parallel with the development of photography.

FEDERICO BELTRÁN MASSES (Güira de Melena, Cuba, 1885 - Barcelona, 1949)."L'Ile d'amour, Les fleurs du mal".Oil on cardboard.Signed on the lower right.With Artur Ramón Gallery label on the back.Measurements: 28 x 23 cm; 48 x 43 cm (frame).Taking the title from Baudelaire's famous book of poems, Beltrán Masses represents here the lesbian island (the kingdom of Lesbos) of which the French poet speaks. Innocent and jovial Arcadia of tradition is reinvented. As in the cursed poet, the latency of something fateful can be appreciated, as well as the burden of a rich symbolism associated with Eros, making pleasure and transgression inseparable. Fauvism, Matisse, the Nabis... are some of the references that are stirred in the cocktail of this painter, capable of creating his own style.Beltrán Masses, despite his Cuban origin, studied art in Spain. He began his training at the Escuela de La Llotja in Barcelona, and was a disciple of Joaquín Sorolla. In 1905 he moved to Madrid to study at first hand the works of the masters in the Prado Museum. In 1916 he settled in Paris, where he achieved great commercial success, receiving commissions from illustrious figures in the United States, Belgium, Italy and India. He was a member of the Royal Academies of Madrid, Barcelona, Saragossa, Lisbon, Cordoba and Malaga. He was also a member of the Hispanic Society of New York, the Institut de France, the Paris Academy of Fine Arts, a knight of the Order of Malta and the French Legion of Honour, and general curator of the Bordeaux International Art Exhibition of 1928. He took part in numerous exhibitions and shows, such as the one held at the Sala Parés in Barcelona in 1910, the Hispano-French Fine Arts Exhibition in Paris in 1919 and the Venice Biennale in 1921. In 1924 he was awarded the Cordon de Isabel la Católica, and in 1934 he exhibited his works at the Royal Watercolour Society in London. Among his official commissions is the portrait he painted of King Alfonso XIII. In 2007 a retrospective exhibition of Federico Beltrán Masses was held at the Casa Lis Museum of Art Nouveau and Art Deco. Beltrán Masses devoted himself to both landscape and figure painting, although towards the end of his career he focused fully on portraiture. Works by Beltrán Masses are currently held in the Prado Museum, the Jeu de Paume Museum in Paris, the Casa Lis Museum in Salamanca and the Reina Sofía Museum in Madrid.

PRE-RAPHAELITE SCHOOL (19TH CENTURY)Portrait of Caroline Louisa FosterWatercolour, 38 x 30cmWith label verso "Caroline Louisa Foster, eldest daughter of John Frederic Foster of Sale Priory, Co. Chester, by Caroline dau(ghter) of Sir William Chambers Bagshawl, Born August 6th 1825, married March 12th 1846 at Ashton-on-Mersey Edward Lloyd Died February 8, 1990 at Lillesdam, buried at Hawkhunst Kent."Condition Report: Good overallcolour tone remains strongno issues with the paintingSmall losses of gilt to the frame

A well executed watercolour painting of two mounted French Napoleonic Polish Lancers, one carrying a lance, the other with a sword, inscribed "2nd Polish Lancers 1815", 14" x 10½" in oak frame. GC No sign of a signature, but may possibly be signed beneath the card mount. £40-60

French School - Portrait miniature of a Gentleman, half-length, turned to dexter, dressed in the 18th century fashion, watercolour on ivory, 10.2 x 8cm, gilt and composition frame extensively annotated in manuscript to verso Please note Mellors & Kirk have applied for an exemption licence for the ivory in this lot. Ref: ZDU7HUBW The ivory panel in good condition, with no cracks. Fresh colours. The frame with some wear and evident over-painting.

Painting of a woman/watercolour, 24cm x 18cm/and a framed print of a lady, 32cm x 23cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

A watercolour painting of a country landscape with a cottage to the foreground, unsigned, 11½”x17”, together with four other decorative pictures, each in a gilt frame.

A watercolour painting by Dorothy Cox signed, 14½” x 21¾” titled to reverse “Cornish Clay Works”, signed, 14½” x 21¾”, in a glazed frame.

Dora Charnley : Study of a Stone-Built House on a Hill, watercolour, signed, 25 cm x 34 cm, together with the companion piece and so framed as a pair, together with two futher watercoloyr drawings by a different hand, an oil painting depicting a rural cottage, a print after Edgar Degas and a further print depicting a semi-nude study of a lady, all parts framed. (7)

AFTER GEORGE FREDERIC WATTS OM RA (1817-1904), A watercolour portrait of Sir Edward Sabine (1788-1883), Irish astronomer, geophysicist, ornithologist, explorer, soldier and the 30th President of the Royal Society.Old paper label to verso dates 'Watts 1874'. Purchased in 1982, with original receipt from 'Geoffrey Rose Ltd'. 76cm x 57cm (incl. frame) Edward Sabine travelled with Commander John Ross in the ill-fated 1818 Arctic expedition to discover the North West passage into the Pacific Ocean. He also returned to the Arctic on the Parry Expedition the following year in 1819. He led the effort to establish a system of magnetic observatories in various parts of British territory all over the globe. Much of his life was devoted to their direction, and to analyzing their observations. Other research focused on the birds of Greenland, ocean temperatures, the Gulf Stream, barometric measurement of heights, arc of the meridian, glacial transport of rocks, the volcanoes of the Hawaiian Islands, and various points of meteorology.It is believed that this is a copy of the original oil painting of Sir Edward Sabine, in the Royal Artillery Mess, Woolwich. This may have been painted by an admiring officer. In this period the ability to sketch a terrain, rapidly and accurately, could prove very important in a military operation, and officers were often given artistic instruction as part of their training, and this would have focussed on drawing and watercolour rather than oil paint.

19th century school - Morning dress, watercolour, 16 x 27cm Good vivid colour with only minor marks.Painting good overall condition.Frame with damage and losses.Framed dimensions 21 x 33cm.