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A framed watercolour painting of Windsor Castle. Signed John Healon, 1884. Measuring approximately 62x46cm

A framed watercolour painting signed H.A Linton. 63 x 38cm NO RESERVE

Watercolour painting by Patrick R Donovan depicting a mountain landscape. Frame dimensions- 68x50cm

Attributed to Solomon Alexander Hart R.A. (1806-1881), Jewish, The Rabbi, monogram lower right, watercolour and egg tempera, Professor of Painting at The Royal Academy, circa 1860, image 33 x 19cm

Oil Painting of a Man walking along a country path, indistinctly signed A Rauiu? together with Dutch Scene Watercolour signed J D Walker, Watercolour of an Otter with Fish on a River Bank and a Watercolour of a Country House through trees, largest 62cm x 47cm, all gilt framed and glazed (4)

Four Portraits including Oswald Hupert Oil on Panel of a Rabbi reading a newspaper, signed upper left, 18cm x 23cm, 19th century Oil on Canvas Portrait of Mr Thumbwood Cellarman with J May & Co painted by G Garland, 30cm x 36cm, Oil Painting on Panel of Edward VII, 28cm x 32cm and Watercolour of a Man drinking from a flagon signed G Rushton, 23cm x 32cm (4)

Collection of Five Bird Pictures including Oil Painting of Ducks amongst Flowers signed Stevenson 24cm x 19cm together with Robert W Milliken (b.1920) Pencil Drawing of Snipes, 48cm x 33cm, Watercolour of a Hoopoe, Watercolour of an Owl signed Tho. W King 1819, Richard Robjent Watercolour of Barrow's Goldeneye at Slimbridge

George Meakin, Watercolour of Six Animals including Rhino, Walrus, Kudu, etc, 31cm x 40cm together with Oil Painting of a Bushbuck signed Nancy Gilbey and dated 1939

A watercolour and pencil painting 'Common Zebra' by Francesca '93, 49cm x 40cm plus a pencil sketch by Tom Greenfield, 36cm x 57cm

Three Various contemporary artworks includes Watercolour of bridge at night by KLS Murdoch, Ishbel Macdonald D.A. Screen print titled 'Fashen Sunset' Ltd edition 4/30 and acrylic painting of white cottages signed to the corner by the artist.

Unsigned Woodland Watercolour plus Distressed Oil Painting

Original Watercolour Painting of The Liner Mauretania by J. Marshall

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Lluna plena, 2000.Mixed media (watercolour, charcoal and coloured pencil) on paper glued to cardboard.Signed and dated in the lower right-hand corner.Provenance: Private collection.Size: 15 x 21 cm; 19.5 x 29 cm (frame).After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Composition, 2000.Watercolour, coloured pencils and pastel on paper with poetry glued to cardboard. Framed with passe-partout.Signed and dated in the lower left corner.Provenance: Private collection.Size: 17 x 21 cm.After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism marked the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, 1990's Royal Academy exhibition label to verso, titled "Roza", image size 19.5in x 15.5in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, titled "Altiorapeto", image size 29in x 22in

A framed watercolour & gouache painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, Royal Academy exhibition label to verso, titled "Fruits", image size 295in x 22in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, titled "Mountains", image size 15.25in x 11.5in

A framed watercolour & gouache painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, titled "Absonus", image size 29.5in x 22in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, titled "Path To The Temple", image size 19.375in x 15.75in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, untitled, image size 35.5in x 23.5in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, untitled, image size 19.25in x 15.75in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, titled "Insomnis", image size 29.125in x 21.5in

An unframed oil painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, untitled, image size 24in x 18in, twinned with smaller watercolour of woman

Joseph Hughes Clayton (British, active 1891-1929) - Pair of watercolour Paintings. 'Afternoon at Penrhyn Point' and 'Low Tide'. Both depict fishing boats in the shelter of the bay, cottages, Seagulls and distant headlands with bigger swells out to sea. Taken from opposite sides of the rocky shoreline at Cemaes Bay, Anglesea, North Wales. Signed in opposing corners 'J. Hughes Clayton'. Both paintings removed from frames. Titled and some painting notes written in pencil on reverse of both. Total board size is 41.5cm x 21.5cm each.Note* - The Paintings have been in a house by Aintree Racecourse, Liverpool, Since they where painted. Joseph Hughes Clayton was a prominent member of the Royal Cambrian Academy in the late 19th century. He worked mainly on the North Wales coast and Anglesey producing sentimental studies of the fishing community particularly at Cemaes Bay where he owned a cottage. He also Lived in Liverpool and Cheshire. He exhibited paintings at the Walker Gallery, Liverpool.Joseph Hughes Clayton (Prydeinig, gweithredol 1891-1929) - Pâr o baentiadau dyfrlliw. 'Prynhawn ym Mhwynt Penrhyn' a 'Llanw Isel'. Mae'r ddau yn darlunio cychod pysgota yng nghysgod y bae, bythynnod, gwylanod a phentiroedd pell gyda chwydd mwy allan i'r môr. Wedi'i gymryd o ochrau cyferbyn y draethlin greigiog ym Mae Cemaes, Anglesea, Gogledd Cymru. Arwyddwyd mewn corneli gwrthwynebol 'J. Hughes Clayton'. Tynnwyd y ddau ddarlun o'r fframiau. Teitl a rhai nodiadau peintio wedi'u hysgrifennu mewn pensil ar gefn y ddau. Cyfanswm maint y bwrdd yw 41.5cm x 21.5cm yr un.Nodyn* - Mae'r Paentiadau wedi bod mewn tŷ ger Cae Ras Aintree, Lerpwl, Ers iddynt gael eu paentio. Roedd Joseph Hughes Clayton yn aelod blaenllaw o'r Academi Frenhinol Gymreig ar ddiwedd y 19eg ganrif. Bu’n gweithio’n bennaf ar arfordir Gogledd Cymru ac Ynys Môn gan gynhyrchu astudiaethau sentimental o’r gymuned bysgota yn enwedig ym Mae Cemaes lle’r oedd yn berchen ar fwthyn. Bu hefyd yn byw yn Lerpwl a sir Gaer. Arddangosodd luniau yn Oriel Walker, Lerpwl

Joseph Hughes Clayton (British, active 1891-1929) - Pair of watercolour Paintings. 'In with the Catch' and 'When the Tide is Low'. Both depict Fishermen and fishing boats from a rocky shoreline at Cemaes Bay, Anglesea, North Wales. Autumn colours. One painting is outside a cottage, closer than usual, possibly his own. Signed in opposing corners 'J. Hughes Clayton'. Both paintings removed from frames. A wealth of notes and a beautiful signature in pencil on reverse of both(See notes). Titled and some painting notes. Total board sizes are 41.25cm x 21.25cm and 41cm x 21.25cm. Note* - On reverse of both works, is written what appears to be 'J.W.Dodd'. There is a first World War hero named 'John William Dodd' born in Cheshire, who was 18 when he died and would have been one year older than our artist. A possible link.Joseph Hughes Clayton was a prominent member of the Royal Cambrian Academy in the late 19th century. He worked mainly on the North Wales coast and Anglesey producing sentimental studies of the fishing community particularly at Cemaes Bay where he owned a cottage. He also Lived in Liverpool and Cheshire. He exhibited paintings at the Walker Gallery, Liverpool.Joseph Hughes Clayton (Prydeinig, gweithredol 1891-1929) - Pâr o baentiadau dyfrlliw. 'In with the Catch' a 'Pan fo'r Llanw'n Isel'. Mae'r ddau yn darlunio pysgotwyr a chychod pysgota o draethlin greigiog ym Mae Cemaes, Anglesea, Gogledd Cymru. Lliwiau'r hydref. Mae un paentiad y tu allan i fwthyn, yn agosach nag arfer, o bosibl ei beintiad ei hun. Arwyddwyd mewn corneli gwrthwynebol 'J. Hughes Clayton'. Tynnwyd y ddau ddarlun o'r fframiau. Cyfoeth o nodiadau a llofnod hardd mewn pensil ar gefn y ddau (Gweler y nodiadau). Teitl a rhai nodiadau peintio. Cyfanswm meintiau byrddau yw 41.25cm x 21.25cm a 41cm x 21.25cm.Nodyn* - Ar gefn y ddau waith, ysgrifennir yr hyn sy'n ymddangos fel 'J.W.Dodd'. Mae yna arwr o'r Rhyfel Byd Cyntaf o'r enw 'John William Dodd' a aned yn Swydd Gaer, a oedd yn 18 oed pan fu farw ac a fyddai wedi bod flwyddyn yn hŷn na'n hartist ni. Dolen bosibl.Roedd Joseph Hughes Clayton yn aelod blaenllaw o'r Academi Frenhinol Gymreig ar ddiwedd y 19eg ganrif. Bu’n gweithio’n bennaf ar arfordir Gogledd Cymru ac Ynys Môn gan gynhyrchu astudiaethau sentimental o’r gymuned bysgota yn enwedig ym Mae Cemaes lle’r oedd yn berchen ar fwthyn. Bu hefyd yn byw yn Lerpwl a sir Gaer. Arddangosodd luniau yn Oriel Walker, Lerpwl

Edgar 'Eddie' Shakeshaft 1919-2013. British Liverpool Artist. Large Watercolour painting on card of a Sailing Ship viewed from the Albert dock. Liver Birds and Pier Head in the background. Signed Bottom Right Corner in red, with some artist notes in the border. Some tears and scuffs, generally still good. Measures 54.3cm x 38cm including border

1926 mounted watercolour painting of a rural scene by William W Milne - 22.5cm x 30.5cm

Framed original 1891 watercolour painting by Robert Dobson (1860-1901) of a pair of travellers on a mountain path - 58cm x 50cm

1915 / WWI framed watercolour painting by George Howell Baker (1871-1919) of a man burning on a cross (book illustration?) - 40cm x 31cm~ he tragically died in 1919 aged 48 two years after a 'serious nervous breakdown'

Framed watercolour painting of some Indian stonecutters by Mrs L Sultan Ahmad - 45cm x 60.5cm ~ possibly artwork for the 1920 book 'The Charm of Kashmir' by Vincent Clarence Scott (1869-1945) & O' Connor

European school; early 20th century."Portrait of a Young Woman, 1920.Watercolour on paper.Signed, dated and located in the lower right area.Size: 35.5 x 30 cm; 58 x 53 cm (frame).As in the rest of Europe, the portrait became in the 19th century the leading genre of painting par excellence, as a consequence of the new social structures that were established in the Western world during this century, embodying the maximum expression of the transformation of the taste and mentality of the new clientele, which emerged among the nobility and the wealthy upper middle class, who would take the reins of history in this period. While official circles gave precedence to other artistic genres, such as history painting, and the incipient collectors encouraged the profusion of genre paintings, portraiture was in great demand for paintings intended for the more private sphere, as a reflection of the value of the individual in the new society. This genre embodies the permanent presence of the image of its protagonists, to be enjoyed in the privacy of a studio, in the everyday warmth of a family cabinet or presiding over the main rooms of the house.

PLÁCIDO FRANCÉS Y PASCUAL (Alcoy, 1834 - Madrid, 1902).Untitled.Watercolour on paper.Signed and located (Madrid), in the lower right corner.Size: 34,5 x 24,5 cm; 47 x 38 cm (frame).He was born in Alcoy, and he began his artistic training in Valencia in the Academy of San Carlos of Valencia, but he moved to Madrid in 1854 to complete his studies. There he enrolled as a student at the San Fernando Academy in Madrid, later, in 1861, he was appointed professor at the School of Fine Arts in Valencia and later at the School of Arts and Industries in Madrid. In 1882 he was awarded the Cross of Carlos III. Antonio Cortina Farinós was one of his best-known pupils. In 1862, he painted decorations for the "Palacio del Marqués de Dos Aguas" in Valencia. Four years later, he painted medallions of Venus on the ceiling with putti and cherubs for the ballroom of the palace. He also worked on the palaces of the Duke of Santoña and the Marquis of Larios. In 1870 he moved to Madrid, where he became one of the founders of the Círculo de Bellas Artes and the Madrid Association of Watercolourists. He also became a professor at the San Fernando Royal Academy of Fine Arts and began to show his works at the annual National Exhibition of Fine Arts, where he won medals in 1871, 1890 and 1892. His illustrations often appeared in the magazine Blanco y Negro. He died in Madrid, aged 68. Two of his children were also painters: Fernanda Francés y Arribas (1862-1939), who specialised in painting flowers, and Juan Francés Mexía (1873-1954) and his cousin was the painter Emilio Sala, who was also one of his pupils.

GABRIEL PUIG RODA (Tírig, Castellón, 1865 - Vinaròs, Castellón, 1919)."Family of Peasants".Oil on panel.Signed in the lower right-hand corner.Measurements: 40,5 x 26 cm; 42,5 x 27,5 cm (frame).A family of grape pickers appears gathered around a big basket. Attentive observer of his immediate surroundings, the painter composes an intimate scene brimming with activity. Oblivious to our gaze, each character focuses on his work. The costumes, based on scarves, lace and prints, are depicted with a folkloristic flavour.Gabriel Puig Roda studied art at the San Carlos School of Fine Arts in Valencia, where he entered in 1879 thanks to a scholarship from the Diputación de Castellón. Again with a scholarship he went to Madrid to further his studies at the San Fernando School. There he obtained the pension to go to Rome in 1889, where he remained until 1892. In the Italian capital, in order to perfect his use of watercolour, he attended classes at the Academia Chigi and the Círculo Internacional de Bellas Artes, showing the influence of his Italian contemporaries in his work during these years. In 1890 he had already gained a certain international public, to whom his proxy sold panels and watercolours. His first Roman period came to an end at the end of his scholarship in 1892. He then travelled to Pisa, Genoa, Milan, Padua, Venice and Bologna, where he made sketches of typical landscapes and places which he used for his compositions. After a period in Spain he returned to Rome and painted "The Expulsion of the Moors", a painting he sent to the Valencia Provincial Council in 1894. His works from this period fall into two main groups; firstly, there are the Fortuny-influenced themes, which include genre and orientalist paintings. Secondly, there are the naturalistic themes, such as "El mendigo de la guitarra" ("The beggar with the guitar") and "La visita del corregidor" ("The visit of the corregidor") in which Puig Roda, influenced by the literature of his time, crudely depicts genre scenes of the period. After a period in Barcelona, the painter finally settled in Vinaròs in 1905, where he specialised in watercolours of genre scenes. An important collection of his works was donated by his children in 1975 to the Diputación de Castellón de la Plana, destined for the future Provincial Museum of Fine Arts. An international watercolour competition is currently held in Vinaròs and bears his name.

FREDERIC LLOVERAS HERRERA (Barcelona, 1912 - 1983)."Toilette", 1947.Oil on canvas.Signed and dated in the lower left corner.Size: 100 x 81 cm; 115 x 96 cm (frame).Frederic Lloveras was an outstanding painter, illustrator and watercolourist. Trained at the Cercle de Sant Lluc and the Sant Jordi School of Fine Arts, he began his career painting in oils. From 1936 to 1939 he devoted himself to drawing, to which he added colour, using watercolour above all, which became his speciality, although he also made frequent use of pastel. Today he is considered one of the best watercolourists of post-war Catalonia. In 1984, the Barcelona Salon de Mayo dedicated its edition to Lloveras as a posthumous tribute. His work can be found in the Diocesan Museum of Barcelona, the Museum of Watercolour in Llançà, the Julio Quesada Museum in Crevillent and the Museum of Fine Arts in Santiago de Chile, among others.

An 18th century French yellow metal mounted miniature on ivory, Children embracing a goat, 4 by 5cms. (Exemption submission reference M3CSN89C)Condition ReportWatercolour painting, it is in good condition apart from the back boards missing from the frame

A Chinese circular watercolour painting depicting a mountainous river scene and calligraphy, framed & glazed, 30cms diameter.

Horse racing interest: A Brigg leather riding crop with antler handle and silver collar, 50cms long; together with a pewter spirit flask in the form of a jockey's cap, 8cms diameter; and a watercolour painting depicting The Grand National at Beeches Brook, framed & glazed, 24 by 19cms (3).

19th century school - an oval portrait depicting three young ladies, watercolour, framed & glazed, 34 by 26cms.Condition ReportRe-mounted and framed, painting is in good overall condition.

Thomas Falcon Marshall ( British Liverpool 1818 - London 1878 ) The Young Puppeteer - Watercolour over Pencil, Heightened with White. Image Size 13.5 x 19.5 Inches Approx ( 34 x 49 cms ) Frame Size 22 x 28 Inches Approx ( 55 x 70 cms ) With 07 x Wash Line Mount. A Charming Family Scene With a Young Travelling Puppeteer Entertaining a Mother and Her Children, With Puppets of Admiral Nelson and Lady Hamilton. ( N.B The Painting ' Returning Health ' Featured In William Gaunts ' The Restless Century - Art In Britian 1800 - 1900 ' Features Members of the Same Family ) Signed with Monogrammed Initials TFM, Lower Left and Dated ( 18 ) 51.

William John Wainwright (British 1855-1931) 'A Quiet Afternoon' Watercolour & Pencil Painting. Image size 15'' (37 cm) x 10'' (25 cm) approx. Framed size 22'' (55 cm) x 17'' (42 cm approx). William John Wainwright - was president of the Royal Birmingham Society of Artists, and a close friend of fellow Birmingham Artists Walter Langley and Edwin Harris. This picture was exhibited at the RWS in 1909, and is listed in the Artists Catalogue de Raissonne ' W J Wainwright by Walter Turner' Page 69. Original exhibition label with price - verso. Good original colour, no obvious foxing or fading. Some (repaired) damage to mount, scuffing to frame.

Alice Joyce Smith (1896-1974)Church interior,watercolour, signed,53 x 36cm;together with a portfolio containing the artist's Slade School of Fine Art certificates, newspaper clippings, and a copy of the Illustrated London News that references her Rome Scholarship nomination.Footnote:Alice Joyce Smith entered the Central School of Arts and Crafts in 1913 before joining the Slade School of Fine Art where she was awarded many accolades including being the first recipient of the Drawing Drapery Prize in 1918, as well as an award from Figure Drawing, Painting from Life, and Head Painting. She was shortlisted for the Prix de Rome prize in 1922, before touring Spain to study the works of Velazquez. Beyond that, her career is little documented. She went on to marry artist Gwilym Jones ARCA who was the Principal of the Stroud Art School, where the couple lived for over 40 years.

A watercolour painting of a dock / harbour scene believed to be Bristol with tall ship. Signed to the corner. Framed. AF Measures approx. Measures approx. 48cm x 61cm 

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Valerie".Watercolour on paper.Signed with stamp.With label on the back of the Alcolea Gallery.Size: 15,5 x 20,2 cm; 33 x 38 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the stroke and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Sur les fleurs".Watercolour on paper.Signed with stamp.With label on the back of the Alcolea Gallery.Size: 20 x 16 cm; 38 x 33 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the line and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of the European stylistic patterns. The line of the representation shows a line of an expressive and meditated character, based on different aspects and shades based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.

EDGAR DEGAS , PARIS, 1834 - PARIS, 1917Girl carrying flowers in her apronOil on canvas 73.3 x 55.7 cmThis girl, who steps forward with grace and restraint, sketches a slight dance step, halfway to a curtsy. With her arms stretched forward to raise her skirt, which holds a spray of flowers, she gives a glimpse of her ankles, crossed in a precarious balance. Emerging from the shadow of the background, she steps into the light as if on a proscenium. Wouldn't she, in fact, be taking a bow after a performance? The flowers would then be those of her ovation, as for a young opera star... Somewhere between a portrait and a genre scene, this painting, with its fine and lively brushstrokes, portrays an attitude of great freshness, captured on the spot. This early work foreshadows the favourite subjects that Degas would develop in his maturity and already reveals his passion for the little 'rats' of the Paris Opera, whom he undertook to paint from every angle. While there are no clues in the setting to situate the action, the dress and early age of this little girl here probably reveals a 'good family' child from the painter's entourage, captured on the occasion of a family event..Edgar Degas (1834-1917) was a French painter belonging to the Impressionist movement. Coming from a wealthy and cultured background, Degas copied the great masters at the Louvre at an early age and then undertook trips to Italy to discover the works of the Renaissance. From 1874 onwards, he regularly exhibited at the Salon des impressionnistes. In Montmartre, where he frequented the artistic avant-garde, he became friends with Edouard Manet. From the 1880s onwards, as his eyesight declined, he favoured the pastel technique, sometimes combining it with gouache or watercolour. It was during this period that he developed an interest in ballerinas, which would become one of his favourite subjects. As an opera enthusiast, he chose them as models, making them take endless poses on stage or backstage. His passion for the female body is also expressed in his other variations of 'women at the tub', a true leitmotif of his painting, where he takes a very intimate look at his models, revisiting the theme of the woman at her toilet.Work reproduced in the catalogue raisonné of M. Schulman.Signatur: Signed lower right 'Degas'

William Bingham McGuinness R.H.A (1849-1928) -Landscape with Thatched Cottages by Lough - Watercolour - signed B. McGuiness lower left, Framed, mounted and glazed 9 ¾ x 14 ¼ ins , Frame size 18 ½ x 21½ ins -William Bingham McGuinness (1849-1928) was a landscape painter who began his career as an architect, exhibiting architectural designs at the Royal Hibernian Academy. It was during his apprenticeship that he began taking painting classes at the RHA where he discovered his passion for painting, travelling to Dusseldorf to pursue further study of the profession. When he returned to Dublin he devoted his time fully towards painting, exhibiting with the RHA and the Royal Academy in London.

James Longueville Salute from St Marks VENICE, Pastel, Nice Frame and mount Frame size 21” high by 24.5” wide, image size 10.5 by 14.5 signed lower left James Longueville was born in 1942 near Chester. Following a career in journalism, he started to paint professionally in 1972, concentrating on the landscape around his South Cheshire studio. Working in oil, pastel and watercolour, his work is traditionally figurative, influenced by a long line of exponents in European landscape painting from Boudoin, Constable and the East Anglian School to Wilson Steer, Seago and others. He paints daily and travels throughout England, Ireland, France, and Italy looking for new material. 

Still Life with FruitWilliam Henry Hunt O.W.S. (1790 - 1864)An English watercolourist, Hunt was one of the key figures in nineteenth-century English watercolour painting. His work was extensively collected in his lifetime, particularly his detailed, naturalistic still life works of fruit, flowers, and birds' nests.Watercolour, 13.5 x 19.5 cm. Framed and glazed. Signed W Hunt to lower right.

Brenda Holtam RWS, British b.1960- Flowers in a vase, 1991; watercolour and gouache on paper, signed and dated lower right, 24.8 x 19.7 cm: British School, late 20th century- Flowers in a vase; oil on card, bearing a painting of rooftops verso, 13.4 x 11.7 cm: together with further watercolours of flowers by different artists (11) (ARR) (unframed/part mounted)Light creases, folds, and pinholes to some of the sheets. General dirty marks and possible spots of foxing to some of the sheets. Otherwise in fair to good condition overall.

English School (19th century): Cockatoo, pencil and watercolour indistinctly signed together with Thai painting (2)Dimensions: Height: 64cm  Length/Width: 63cm  Depth/Diameter: 47cm

Great War Watercolour, Well executed painting of a Fokker Einedekker in action with an Allied plane, which it has damaged, Signed Wykes 68, glazed and framed, together with 1914-1919 For Services Rendered to Pte Taylor, member of Territorial Force, again glazed and framed (2 items)

‡John Stanton Ward CBE, RA (1917-2007) Training Session on Beacon Hill, November 1939 Inscribed To Mum & Pat in remembrance/of a lovely Christmas/parcel (to verso) Pen and black ink, and watercolour 7.5 x 9.7cm Literature: John Ward, The Paintings of John Ward (David & Charles, 1991), p.19 (illustrated) In October 1939 John Ward joined the Royal Engineers. The present work depicts his training, which he described as days 'spent on a wasteland named Beacon Hill, digging trenches and learning about barbed wire, latrines, road-making and pontoon building....I used to feel that I was part of a painting by Brueghel, a mixture of horror and hilarity'.

LAUREANO BARRAU BUÑOL (Barcelona, 1864 - Santa Eulària des Riu, Ibiza, 1957)."Noia Eivissenca (Eivissa Noia). Circa 1935Watercolour and graphite on paper.Signed and dedicated in the lower left-hand corner.Work referenced in "Laureà Barrau" by Isabel Coll p. 203.Work exhibited in the anthological exhibition "Laureà Barrau (1863-1957), l'artista i el seu llegat a Terrassa", 2004, Centre Cultural de Caixa Terrassa. Measurements: 46 x 36 cm; 67 x 57 cm (frame).Laureano Barrau was born into a bourgeois family, son of an industrial engineer and businessman. He began his training at the School of Fine Arts in Barcelona, where he was a disciple of Antonio Caba. Shortly afterwards he travelled to Madrid to broaden his training by studying the great masters of the Prado Museum. In 1884 the Barcelona City Council granted him the Fortuny Pension to extend his studies in Rome for three years. However, with the money from the travel grant Barrau moved to Paris, where he entered the Academy of Fine Arts, with Jean-Léon Gérôme as his tutor. In 1885, already in Rome, he studied the Italian masters and began to send to Barcelona the works that corresponded to him as a boarder. From 1887 he exhibited regularly at the Sala Parés in Barcelona, one of the most important Spanish galleries of the time, and the most prominent in Catalonia. That year his painting "The Surrender of Gerona" was a great success with critics and the public, as it represented a totally personal treatment of the genre of history painting, more vibrant and emotive. At the same time, Barrau frequently took part in official exhibitions both nationally and internationally. In 1888 he was awarded a second medal at the International Exhibition in Barcelona and a second prize at the Universal Exhibition in Brussels. Three years later, in 1891, he was awarded the title of member of the Salon de la Société Nationale des Beaux-Arts in Paris, and the following year he was awarded a third medal at the National Exhibition of Fine Arts in Madrid for his work "Escardadora". In 1904 he won a second medal at the same exhibition for "Taponeras del Ampurdán". Barrau also held numerous individual exhibitions and took part in group exhibitions in Paris, Barcelona, Madrid, New York and Rome. In 1909 he settled in Buenos Aires, where his work enjoyed the same success and recognition as it had in Spain and Europe, and after returning he settled permanently in Ibiza in 1911. From there he continued to show his work both in Spain and abroad, and in 1929 he was appointed "Societarie" of the Paris Salons. Barrau's work is based on an initial language linked to his neoclassical training, and evolves to reach a new concept characterised by luminosity and chromatic transparencies. To this day, the work he produced in Santa Eulària des Riu (Ibiza) at the end of his life is considered to be the best of his output. Laureano Barrau is currently represented in the Prado Museum, the Getty Museum in California, the Museums of Contemporary Art in Madrid and Barcelona, his house-museum in Santa Eulària des Riu and in various museums in Paris, Buenos Aires, Montevideo and Rio de Janeiro, as well as in important national and international private collections.

An early 20th century Chinese painting of a basked filled with various flowers, ink and watercolour on pith paper, image size 28 cm h x 19 cm w - framed and glazed, 41 cm h x 30 cm w o/a Overall foxing

A 20th century hanging scroll painting, ink and watercolour on paper in the manner of Singaporean artist Cheong Soo Pieng, painted with a rooster and two seated Malaysian figures underneath a tall palm tree, signed to the right hand edge with red seal below with turned hardwood digan roller and silk brocade mounted border, image size 120 cm x 44 cm c/w cardboard protective box printed with cloud patterns 

World War I ink and watercolour wash humorous spoof recuitment poster, 37 x 26 cm, later framed to/w a watercolour sketch of a battlecruiser (possibly HMS Hood) and an oil painting of Swordfish attacking the Bismark by Frank Hooper 1981 (3)

Collection of watercolour painting media to include: Sketchbooks, six painting boxes, tube for brushes, sable and squirrel hair brushes and paints

Five Chinese and Japanese artworks to include: Butterfly with flowers, watercolour, calligraphy and red seal mark, 29 x 36 cm; two men and a woman painting lanterns, watercolour; embroidery of lotus flowers and two watercolours of birds (5)

20th century Chinese hanging scroll with painting of snow blossom in winter scene, watercolour on paper, calligraphy and red seal mark top right, two characters inscribed verso, 128 x 61 cm