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Lisa Cooper 'DOGGY IN THE WINDOW' - print - signed - 11.5" x 15.25" in 17" x 20.5" frame - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Lisa Cooper has loved painting since she was young, she loved painting and designing wallpapers and painting her mum’s bone China patterns! She has taken art lessons in the past, mainly in watercolour but likes to mix up the media with inks, acrylic pens and pastels stating that “art is a journey and you must enjoy the ride no matter how frustrating it may be.” Lisa takes her inspiration from everything she sees - from a houseplant in a cool pot, a pretty pattern to animals – she also loves architecture and travel.

Lisa Cooper - 'VASE OF TULIPS' - print on canvas - 11.75" x 8" - PROVENANCE: Donated to and sold on behalf of Macmillan Caring Locally, Canvas for the Mac - the full hammer price will be going to the charity - About the Artist: Lisa Cooper has loved painting since she was young, she loved painting and designing wallpapers and painting her mum’s bone China patterns! She has taken art lessons in the past, mainly in watercolour but likes to mix up the media with inks, acrylic pens and pastels stating that “art is a journey and you must enjoy the ride no matter how frustrating it may be.” Lisa takes her inspiration from everything she sees - from a houseplant in a cool pot, a pretty pattern to animals – she also loves architecture and travel.

BESSIE MACNICOL (SCOTTISH 1869-1904) ELIZABETH Signed and dated '97, oil on canvas Dimensions:36cm x 30.5cm (14in x 12in)Provenance:Provenance: James Connell & Sons, GlasgowEwan Mundy Fine Art, GlasgowPrivate Collection, GlasgowLiterature: Ailsa Tanner, Bessie MacNicol: New Woman, privately published 1998, p.29, ill.col.pl.10Note: Born in Glasgow in 1869, Elizabeth MacNicol, known as Bessie, was one of the few artists within the Glasgow Girls group who excelled at painting during her time at the Glasgow School of Art (1887-1892). With the encouragement of its Director, Fra Newbery, MacNicol painted at his summer schools at Lundin Links, Fife and later travelled to Paris to continue her training at the Academie Colarossi. In 1893, MacNicol exhibited for her first and only time at the Royal Academy of Arts, London. This was also her first year exhibiting at the Royal Glasgow Institute where she would continue to exhibit until her death in 1904. By 1894, MacNicol had acquired a studio at 175 St Vincent Street in Glasgow. It was around this time that she discovered the artists’ town of Kirkcudbright, where she spent time painting alongside some of the Glasgow Boys. Her only solo show was in 1899 at Stephen Gooden’s Art Rooms in Glasgow, the same year she married medical doctor-turned-artist Alexander Frew. From their home in the West End of Glasgow, MacNicol painted mainly figurative work in her studio, and continued exhibiting in Glasgow, Edinburgh, London and internationally until her early death in childbirth in 1904. Art critics of the time praised MacNicol for her strong and vigorous style of painting, comparing her favourably with her male contemporaries. At her funeral, the all-male Glasgow Art Club members’ tribute praised her as ‘a true artist’. Elizabeth is a highly attractive oil painting, characteristic of MacNicol’s figurative work in the late 1890s, where women are presented alone amongst foliage or dappled in sunlight beneath a canopy of trees. In this strong portrait composition, an elegant female sitter, reading with head tilted backwards, draws clear influence from Whistler, an artist hugely admired by Glasgow School artists, as well as from the Dutch Old Masters, and the Impressionists who inspired MacNicol during her sojourn in Paris. Elizabeth not only highlights MacNicol’s virtuosity and highly assured brushwork; the composition also reveals a psychological depth in the interplay of elements such as the floral arrangement to the left of the sitter, and the play of light and dark which force our gaze on the sitter and the contemplation of her inner reverie. MacNicol is well represented in public collections. In her lifetime she exhibited widely in Scotland at the Royal Scottish Academy, the Glasgow Society of Lady Artists, the Royal Glasgow Institute, and the Royal Scottish Society of Painters in Watercolour. Her works have also been exhibited in London, Liverpool, Manchester, throughout Europe and the USA. In his book Scottish Painting Past and Present (London, 1908, p.436), James Caw, Director of the National Galleries of Scotland, recognised MacNicol as ‘probably the most accomplished lady-artist that Scotland has yet produced’.

§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) THE OLD MILL AT FOWLIS Signed, signed, inscribed and dated 1986 in the artist's hand on label verso, watercolourDimensions:51cm x 76cm (20in x 30in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting. Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally.

§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) KEITHOCK BURN Signed, signed, inscribed and dated 1989 by the artist on a label verso, watercolourDimensions:76cm x 56cm (30in x 22in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting. Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally. Note: Keithock Burn is beside Keithock Mill near Woodside, Angus.

§ JAMES MCINTOSH PATRICK R.S.A., R.O.I., A.R.E., L.L.D. (SCOTTISH 1907-1998) ASHLEY BRIDGE Signed, watercolourDimensions:76cm x 66cm (30in x 22in)Note: James McIntosh Patrick is famed for his finely-observed paintings and etchings of the Angus landscape. A Dundonian by birth, from a young age he displayed a keen interest in art and was encouraged by his architect father to draw and experiment with etching. At the age of seventeen he enrolled at the Glasgow School of Art where, owing to his creative competence, he was admitted directly into the second year of the four-year degree.It was here, studying under Maurice Grieffenhagen, that Patrick saw his first success, winning several prizes, gaining a post-diploma scholarship and acquiring important contracts for editions of prints. In the following years the etching market declined abruptly, which compelled Patrick to seek employment as a teacher at Dundee College of Art and to diversify into oil and watercolour painting. Patrick’s career was interrupted in 1940 when he was called for service in the Camouflage Corps. As with many artists of the period, World War Two was to impact significantly on his style: travelling extensively with the military, Patrick had to paint ‘en plein air’ resulting in looser and more painterly and impressionistic mark-making. He nevertheless maintained his trademark attention to detail, and the ensuing style is evident in his landscape pictures from thereon.After the War Patrick continued to paint the landscape around Dundee. He was elected an Associate member of the Royal Scottish Academy in 1949, and was made a full member eight years later. His influence as a leading landscape artist can still be felt widely, both in Scotland and further afield, and his work is held in collections internationally.

Andrei Yakovlevich‏ Beloborodoff, Russian 1886-1965 - A Design for an Open-Air theatre at Ivy House, Golders Green, Home Of Anna Pavlova; watercolour on card, heightened with bodycolour and pen & sepia ink, signed lower right 'A Beloborodoff', signed and inscribed on the reverse '...[?] Beloborodoff /...z[?]iante per il Balletto di Anna Pavlova,gallo... / N. 16', 19 x 23.5 cm Note: Beloborodov began his career as an architect and designer at the very end of Russia's "Silver Age". He studied at the Academy of Arts in St Petersburg. Early on in his studies he developed a particular affinity for Italian architecture, in particular the Italian expatriate Quarenghi, whose buildings could be seen all around the old capital. He gave a speech in 1912 where he spoke of protecting the architect's Zavadovskii Palace, he began work on a project to issue a book with architectural plans and sketches of the Palace. Although global circumstances prevented this from coming to fruition, it established Beloborodov's reputation among St Petersburg high society. He received commissions from clients such as the Count & Countess Bobrinski, the Obolenskiis and Prince Felix Iusopov. His career in Russia reached its zenith with a commission from Tsar Nicholas II to design the public halls at the Cabinet of His Royal Highness at Anichkov Palace in 1913-14. During this period, he also came to know the leading figures of the arts in Russia, including Benois, Stravinsky, Nijinski and Anna Pavlova. His time in Russia was cut short by the Great War and subsequent revolution, and he moved to London in 1920. Here he designed sets for the Royal Albert Hall, including for his former client and friend Prince Iusopov's 'Blue Ball', held in support of refugees from Soviet Russia. It was while he was in London that this design for Anna Pavlova's ballet was executed (1). Pavlova was iving in Ivy House, in Golder's Green, where she kept a small ornamental pond for her pet swans, with which she became associated in the popular conception: "I stayed on in England for several months (executing a project for an open-air theatre for the great ballerina in "Swan" park...)" (2) The so-called 'Swan Park' at Ivy House was already well-known as the setting for many press photographs of Pavlova. Her performance of The Dying Swan, her posing as a Swan for The Sketch in a window of Selfridges and numerous other deliberate associations had solidified her image as this elegant creature in the mind of the public (3). Ivy House itself was built in the 18th century and is said to have been home to J.M.W. Turner at one point prior to Pavlova's purchase of it in 1913 (4). Beloborov went on to have a glittering career in Italy after his short stay in England. This was a place where he could fully indulge the innate Italophilia which he had already admitted to in 1911-1912: "The world of painting was always linked for me to my dream of Italy..." and he developed an "...'Italian backbone' which fuses all of my art" (5). In 1924 he held his first solo exhibition at the Galerie Charpentier in Paris and would continue to exhibit at other galleries across Europe. In Italy he became a close friend of the artist Giorgio de Chirico, and his architectural designs and interiors were critically acclaimed by collectors and the cognoscenti in that country. He is best remembered for his later fantastical views of Rome and other grand Italian cities: these are generally devoid of people and often sparkling in an otherworldly glow (de Chirico rightly perceptively saw it as a 'Platonic' light (6)) which have a surreal element to them and show off his fantastic architectural draughtsmanship. Later in life he also excelled in designing costumes and sets for opera and cinema in Italy.

Jim Mitchell (British 20th/21st century) "A Potteries Street Scene - Hanley circa 1950's No. 3" Signed, titled on label verso, watercolour.18.5cm x 24.5cm (7.25in x 9.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.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.

Tom Dodson (British 1910-1991) "Piggy" Signed and titled, watercolour and ink.16.5cm x 24cm (6.5in x 9.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.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.

Ivan Taylor (British 1946-) "The Road from Leek - The Roaches" Signed, titled on artist's label verso, watercolour.19.5cm x 72.5cm (7.5in x 28.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Caroline Bailey (British 1953-) "Daffodils" Signed, watercolour.66.5cm x 53.5cm (26.25in x 21in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Jim Mitchell (British 20th/21st century) "A Potteries Street Scene circa 1950's No. 4" Signed, titled on label verso, watercolour.19cm x 25cm (7.5in x 9.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Gordon Radford (British 1936-2015) "Dunster Castle" Signed and titled, watercolour.14.5cm x 19.5cm (5.75in x 7.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Ivan Taylor (British 1946-) "Longton Skyline circa 1959" Signed, titled on artist's label verso, watercolour.26cm x 73cm (10.25in x 28.75in)Artists’ Resale Right (“droit de suite”) may apply to this lot.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.

* MARIAN LEVEN RA RSW (SCOTTISH b. 1944),BOUNDARYwatercolour on paper, signed, titled label versoimage size 56cm x 76cm, overall size 69cm x 89cm Mounted, framed and under glass. Artist's label verso.Note: Marian Leven RSA is a painter, printmaker and designer. Born in Auchtermuchty, Fife, Leven studied at Gray’s School of Art, Aberdeen. Her practice centres around the experience of living by the sea and the changeability of coastal locations. She is the recipient of many awards including the Noble Grossart, Scotland on Sunday Painting Prize. Marian lives and works in Tayport with her husband, artist Will Maclean RSA. Recent exhibitions include: 2020 Landscape of Memory, Koel Gallery, Karachi; 2019 Coastal Responses, Open Eye Gallery Edinburgh; 2019 Watercolour and Life on Earth, The Arts Box, Vicenza, Italy; 2018 Sommer Gaste, Galerie Herold, Silt, Germany. She was an invited artist Royal Academy Summer Exhibition (London), 2012, 2019. Marian Leven is represented by the prestigious Open Eye Gallery (Edinburgh).

* WILLIAM JOHNSTONE OBE (SCOTTISH 1897 - 1981),UNTITLEDwatercolour on paper, initialledimage size 70cm x 50cm, overall size 78cm x 58cm Mounted, framed and under glass.Note: William Johnstone was at the forefront of the British art world throughout the twentieth century. He became one of the first British artists to break with representation and paint purely abstract pictures; he also had evolutionary impact on art education. He was Principal at Camberwell College of Art from 1938- 1946 and then Principal at Central School of Arts and Crafts from 1947 to 1960. He developed the Basic Design course which stemmed from the Bauhaus and his instinct to defy convention and his eye for talented staff made Central a tour de force. Alan Davie, Anton Ehrenzweig, Patrick Heron, Earl Haig, John Minton, Eduardo Paolozzi, Victor Pasmore, Gordon Baldwin, William Turnbull all worked for him – which made for an explosive, creative mixture of artistic personalities. He received an OBE for his contribution to art education in 1954 then returned home to the Borders in 1960 to concentrate on painting and return to farming.

* DONALD PROVAN (SCOTTISH b. 1964),EAST COASTmixed media on paper, signed, titled and dated 2002 versoimage size 50cm x 70cm, overall size 69cm x 89cmMounted, framed and under glass.Note: Edinburgh-based artist Donald Provan is renowned for his water-related paintings. His work centres on two distinct areas; the land or seascape above and the fish life below. Donald graduated from Edinburgh College of Art in 1986 with a degree in Drawing and Painting, and then gained a Post Graduate Diploma in 1987. His preferred medium is oil which he uses in different ways dependent on the subject matter. In his paintings of fish he applies the paint in a controlled way, whilst in his seascapes he uses thicker paint, with washes of turpentine, letting the paint dictate the final direction of the painting. He has participated in numerous exhibitions throughout the UK, and has had many solo exhibitions in Scotland. Provan is the recipient of several major awards including the Elizabeth Greenshields Foundation Grant, Canada in 1987 and 1992 and the Royal Scottish Society of Painters in Watercolour Small Painting Award at the Royal Scottish Academy in 2008. His work is in many private and public collections, including the Royal Bank of Scotland, the University of St Andrews and Edinburgh College of Art. Provan's principal Scottish gallery is the prestigious Open Eye Gallery (Edinburgh) and his most recent solo show there was 9th - 27th March 2021. Donald Provan's work very rarely appears at auction but in The Scottish Contemporary Art Auction of 17th April 2022 lot 274 "Shoal on Pale Grey" (32 x 63cm) by Donald Provan sold for £1800 (hammer).

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),POPPIES IN VICTORIAN JUGoil on board, signed and dated '89, titled label versoimage size 91cm x 59cm, overall size 109cm x 79cm Framed.Handwritten artist's label verso.Note: 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.

* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972),GRAN VIAwatercolour on paperimage size 24cm x 33cm, overall size 40cm x 49cm Mounted, framed and under glass. Label verso: The Late John Bulloch Souter Archive, Rendezvous Gallery, Aberdeen.Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),WINTER, KILBARCHANoil on board, signed and dated '94image size 60cm x 80cm, overall size 76cm x 96cm Framed.Note: 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 very good overall.

* MARIAN LEVEN RSA RSW (SCOTTISH b. 1944),CONTRA FLOWwatercolour on paper, signed, titled label versoimage size 71cm x 95cm, overall size 87cm x 111cm Mounted, framed and under glass. Artist's label verso.Note: Marian Leven RSA is a painter, printmaker and designer. Born in Auchtermuchty, Fife, Leven studied at Gray’s School of Art, Aberdeen. Her practice centres around the experience of living by the sea and the changeability of coastal locations. She is the recipient of many awards including the Noble Grossart, Scotland on Sunday Painting Prize. Marian lives and works in Tayport with her husband, artist Will Maclean RSA. Recent exhibitions include: 2020 Landscape of Memory, Koel Gallery, Karachi; 2019 Coastal Responses, Open Eye Gallery Edinburgh; 2019 Watercolour and Life on Earth, The Arts Box, Vicenza, Italy; 2018 Sommer Gaste, Galerie Herold, Silt, Germany. She was an invited artist Royal Academy Summer Exhibition (London), 2012, 2019. Marian Leven is represented by the prestigious Open Eye Gallery (Edinburgh).

ARTHUR JOHN TREVOR BRISCOE (1873-1943): Watercolour painting of moored sail ship, 50cm x 72cm

George Russell AE (1867 - 1935)Children Playing in a Woodland GladeOil on canvas, 53.5 x 81.5cm (21 x 32")SignedProvenance: Collection of the Late President Erskine Childers, thence by descentThe Garden of Eden has haunted the imagination ever since the Book of Genesis gave us those descriptions of an idyllic world. In Eden grew ‘every plant’ and ‘every tree that is pleasant to the sight’. It’s a place imagined by artists through the centuries and behind many paintings of beautiful, natural landscapes shimmers that ideal garden where everything was once perfect and carefree. George Russell [Æ] born Lurgan, County Armagh in 1867, painted many ideal landscapes. The Russell family moved to Dublin when George was eleven years old and during summers spent with an aunt or with maternal grandparents in rural Armagh, Russell began to paint in watercolour. Educated at Edward Power’s school on Harrington St and at Rathmines School, as a talented thirteen-year old he was admitted to evening classes at Dublin Metropolitan School of Art and it was there that he met W.B. Yeats. When Æ died Yeats confided ‘Æ was my oldest friend. We began our work together.’Painter, poet, dramatist, novelist, critic, theosophist, mystic, economist and Irish nationalist, George Russell, a true polymath, worked as a draper’s clerk, later worked for the Irish Agricultural Organisation Society, established co-operative banks and he edited, from 1905 to1923, the Irish Homestead, a progressive journal of the Irish Co-operative movement, a journal, in Diarmaid Ferriter’s words, that was ‘generally optimistic about the potential for rural Ireland to develop, but only if the populace would organise in the manner of its European neighbours’. Russell, or Æ, also declared, in New York, that cities were ‘an actual danger to life itself’. ‘The decay’ he said, ‘of civilisation comes from the neglect of agriculture’. Æ believed that ‘[t]here is a need to create, consciously, a rural civilisation adding that ‘[y]ou simply cannot aid the farmers in an economic way and neglect the cultural and educational part of country life, or else the children will continue to leave for the city.’ During a tour of Canada, Kenneth Leslie, a Nova Scotia poet, thought Æ ‘as ready to talk of fat cattle and creamery butter as of Yeats and Lady Gregory’.Oil portraits by Æ included those of Iseult Gonne and Mary Colum, there are charcoal drawings of W.B. Yeats and he painted oil on plaster murals at the Theosophical Society of Ireland headquarters in Ely Place. But he is best known for his landscapes real and imagined. There are representational, atmospheric works such as Clouds Over The Hill, Evening In The Fields, Boglands, Swans at Coole, Landscape North of Muckish, County Donegal and Æ also painted visionary, mystical scenes inspired by his interest in the Tuatha Dé Danann, sea and tree spirits.Æ’s undated painting Children Playing in a Woodland Glade contains four young female figures in gold, red, white and blue dresses. Other undated idyllic sylvan scenes such as Figures in Woodland or Gathering Firewood include girls and women wearing bright colours - blue, red, orange, purple. This work features a woodland scene with figures in bright clothes. The smooth woodland floor is lit with brilliant, dappled sunlight and the tall tree trunks with their splashes of brightness are dazzlingly lit. Overhead, the delicate, young, green leaves suggest springtime and the eye is drawn beyond the figures in the foreground to wander among the slender and broader tree trunks. Compositionally, there is a lovely contrast between the still figure kneeling on the left and the “ring-a-ring-a-rosying” trio on the right. The blue and red dressed figures are older and taller, the girl in blue is quietly concentrating on the forest floor, the girl in red exudes an energy and her two companions in purple and white are totally absorbed in play. Details are deliberately vague. Faces are rendered impressionistically rather than realistically and none of the figures looks at the viewer. They are too caught up in their own joy. And their clothes are captured with a beautiful painterliness.  In The Opal and the Diamond, AE describes how he felt ‘one warm summer evening lying idly on the hillside, not then thinking of anything but the sunlight’. He knew at that moment that ‘the Golden Age was all about me, and it was we who had been blind to it but that it had never passed away from the world’. A painting such as this reminds us of such a sun-bright, golden world. It is a glimpse of Eden.His monogrammed signature, lower right, is the very same as on the autograph tree at Coole Park next to Yeats’s, Æ being an abbreviation of Aeon meaning ‘vital force’, ‘life’, ‘a lifelong quest’. [When Æ appears as a character in Ulysses, smarty-pants Stephen Dedalus borrows some money from him and quips A.E. I. O. U.]Æ married Violet North in 1898. They had three sons one who died soon after being born. After his wife died Æ moved to England. He died in Bournemouth and in an Obituary P.G. Browne wrote ‘his going leaves a blank not easy to fill. He had many friends (he had NO enemies) made during the course of his worldly activities’. Nicknamed The Hairy Fairy and Strayed Angel, Patrick Kavanagh called Æ ‘a great and holy man’. He is buried in Mount Jerome. There’s a commemorative bust by Jerome Connor in Merrion Square and his work is in many collections including the Hugh Lane, the NGI, the Abbey Theatre, Trinity College, University of Texas and Winnipeg Art Gallery, Canada.Niall MacMonagle, October 2022

Bernard Meadows R.A. (British 1915-2005) Study for Sculpture Initialled and dated '80, watercolour and pencil.29cm x 25.5cm (11.5in x 10in)Provenance: Bought from Gallery 17, Shrewsbury.Private Collection, U.K.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There is some light time staining and browning in areas across the sheet. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Bernard Meadows R.A. (British 1915-2005) Study for Sculpture Initialled and dated '50, watercolour and pencil.41cm x 22cm (16.25in x 8.5in)Provenance: Bought from Gallery 17, Shrewsbury.Private Collection, U.K.Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There is a small scuff to the paper near the centre right-hand edge of the sheet and some minor spots of foxing near the lower edge of the paper. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Fächergemälde, ChinaTusche und Wasserfarbe auf Goldpapier, auf Papieruntersatz montiert, eine Landschaft mit Gebäuden und Figur im Boot. Zwei Stempelsiegel und Schriftzeichen, auf dem Untersatz beschriftet. Kleinere Schadstellen. Hinter Glas gerahmt. Ra. 31 x 60,5 cm. Fan painting, ink and watercolour on gold paper, a landscape. Two seal stamps and calligraphy. Mounted on underlay. Framed with glass. China. 31 x 60,5 cm.

An early 20th century maritime watercolour painting of the 'SS Murillo', in service with Lamport and Holt between 1915–32, unsigned, watercolour on paper, 38 cm x 55 cm, within a glazed wooden frame

Books - reference - Art - Artists and Art method, Edward Seago, David Cox, Bonington, Italian Baroque, watercolour painting, oil painting, etc, (3 boxes).

Archibald Thorburn (1860-1935) Wildfowl at Sea - Mallard & Pintailsigned and dated 'A. Thorburn/ 1930' (lower left)watercolour on paper27 x 36.5cmProvenance:The Moorland Gallery, London by 1974, when acquired by the parents of the present ownerExhibited:London, The Moorland Gallery, Archibald Thorburn - Artist and Illustrator, 5th-21st December 1974, no.63A COLLECTION OF WATERCOLOURS (LOTS 201-204) BY ARCHIBALD THORBURN (1860-1935)Archibald Thorburn is widely regarded as the finest and most popular ornithological painter of his generation. By the age of 30, he had established a reputation for being the best in Britain and become renowned for his remarkably accurate depictions of wildlife, which he preferred to sketch out in the wild, and which were devoid of the sentimentality that dominated much naturalistic painting during this period. Born in Lasswade near Edinburgh, the fifth son of Robert Thorburn (1818-1885), portrait miniaturist to Queen Victoria, Thorburn received his early artistic training from his father and first exhibited at the Royal Academy at the age of 20. He was encouraged to study anatomy and sketch classical statuary in pursuit of scientific accuracy, and he briefly attended The St John’s Wood School of Art in London. Upon the death of his father in 1885, he sought the guidance of the German naturalist painter Joseph Wolf whose influence is evident across Thorburn’s work. Thorburn’s first major commission was the illustration of 144 colour plates for Walter Swaysland’s series Familiar Wild Birds which was produced in 1882 and became a huge success. However, it was not until Thorburn was commissioned to illustrate Lord Lilford’s extraordinarily wide-ranging publication Coloured Figures of the Birds of the British Islands, for which he produced some 268 illustrations between 1885-98, that his reputation as a great painter of ornithological subject matter was assured. Following Thorburn’s move to London in 1885, he made regular sketching tours around Britain. In 1889, he visited the Forest of Gaick in Inverness-shire, which became the setting for almost all his depictions of ptarmigan and red deer. Thorburn's Scottish watercolours are considered some of his finest works and are known today for their ability to capture a sense of time and place as well as the changing seasons and weather. In 1902, Thorburn moved to High Leybourne, near Hascombe, Surrey, where he spent the rest of his life. There he settled into a routine of sketching on his morning walk and then working up these sketches into finished compositions back in his studio. Thorburn produced numerous illustrations for sporting and natural history books, including five of his own, and befriended eminent bird illustrators such as George Edward Lodge. In 1899, he designed the first Christmas card for the Royal Society for the Protection of Birds, of which he was elected a Vice-President in 1927.44.5 x 53.5cm framed. Not examined out of frame.

A group of artist's related materials, to include a set of twelve Crawford & Black watercolour paints, Daler Rowney watercolour palate, various plastic pallets, acrylic tubs, watercolour pencils, painting and drawing books, Crawshaw (Alwyn) You Can Paint, etc. (2 boxes)

A sheet of 300gm watercolour paper of the original artwork produced by John R. Mullaney depicting the iconic USCMC Cheyenne Dropship from James Cameron's 1986 feature Aliens. Painted by John R. Mullaney in 2019. Paper measures 50 x 18,5cm.The art was commissioned by Free League Publishing and 20th Century Fox Studios as one of six new 2D vehicle artworks to appear in the 2019 title ALIEN : The Role Playing Game. The painting is as screen-accurate as available reference allowed, with the artist using rare on-set production photography and film-stills to ensure a faithful reproduction of the vehicle's exterior. Hand drawn and painted using multiple layers of watercolour washes, the original artwork was approved by the studio and publisher. The ship's decals and liverie were added digitally for greater accuracy and flexibility, but the artist has subsequently added these details by hand to enhance the original painting. The artwork appears on pages 144-145 of Free League's acclaimed RPG publication (see images, book not included in lot).About The ProjectOf all the franchises John has been commissioned to illustrate, the Alien franchise remains his most personally beloved. Between 2005 and 2006 John created his self-initiated cutaway art of the Colonial Marines Dropship from the 1986 sequel as a proof of concept for an entire book of cutaways depicting the iconic craft and locations from the franchise. The artwork became a limited edition collectible produced by Acme Archives and rapidly sold out. In 2014 he was commissioned by Insight Editions to paint a cutaway of Aliens' APC which appeared alongside the Dropship art and 8 other new artworks of hardware from the franchise in high end collectible Alien: The Weyland-Yutani Report. The making-of film APC Cutaway : Special Edition which John created to promote his work in Insight's publication, continues to wow viewers seven+ years after its release amassing over 60,000 views on Youtube. Both the Dropship and APC cutaway originals artworks sold to a private collector. In 2018 John was commissioned to produce six new colour 2D artworks of craft from the series for Free League's Alien Role Playing Game title, with each piece rendered using the same intricate techniques as for his 3D cutaway work. Click here to see the full gallery of John's work for Alien.About The ArtistA lifelong fan of science-fiction cinema, John R. Mullaney has over two decades experience producing beautifully detailed sci-fi cutaway art for publications licensed by major film studio properties. His career in studio-licensed sci-fi cutaway art began in 1999 when he was recommended by the Society of Architectural Illustration to Dorling Kindersley who were looking for an additional illustrator for their Star Wars Incredible Cross Sections series of publications. Following an extensive audition process, John secured the position and subsequently illustrated multiple iconic locations and ships from the franchise. In addition to his work with Lucasfilm, John has gone on to be commissioned by many other major studios such as 20th Century Fox, Pixar, Universal Studios, 343 Industries, the BBC and Games Workshop. As well as Star Wars, he has produced art for Alien, Batman, Halo, Firefly/Serenity, Doctor Who, Wall-E and Warhammer/40K. Published by DK, Lucasbooks, Insight Editions, Egmont, Titan and Free League, John ensures his artworks are as screen-accurate as the reference allows, working not just from film-stills but from production blueprints & digital models, on-set photography and archive imagery of original miniatures.Each unique large format piece has a production time running into hundreds of hours, using a process of carefully applied multiple watercolour layers, to achieve a complex and nuanced richness of colour, tone and texture. Measuring up to 76x55cm these intricately detailed large format pencil, watercolour, ink & gouache pieces on 300gm watercolour paper, pack a huge visual punch. Alongside these are the preliminary artworks for most cutaways. These pencil artworks are all created on A3 tracing paper and form the basis for the full colour artworks - the majority are as detailed as the size of paper allows before they are enlarged and traced. In a world of predominantly digital art, John's original paintings of iconic vehicles and locations from world-famous science fiction properties have become much sought-after unique investment pieces for pop culture collectors, film enthusiasts and corporate buyers.John is a fellow and council member of the Society of Architectural Illustration and is also an award-winning filmmaker.

Limited to 75 Copies Only, with Original Watercolour Bewick (Pauline) Painting a Life, lg. 4to Dublin 1985. Special Limited Edition, No. 14 of 75 Copies Only,  Signed by Artist & James White Author, with original watercolour laid in Cold. & other illus. thro.-out, orig. vellum backed boards, & slipcase. (1)

Frank Pash (Australian, 1920-1990), The Raising of the Widow's Son at Nain, Galilee. Cartoon for oil painting in watercolour, pen and pencil on paper, signed, titled and inscribed 'To Margaret', '73, framed, 43.5cm x 37.5cm

CHARLES NAPIER HEMY RA (1841-1917); watercolour and tempera, 'The Seagull's Dinner', signed and dated 1900, inscribed and with artist's Falmouth address verso, 56 x 78cm, framed and glazed.Additional InformationIn good, original untouched condition.  As the painting is behind glass it is impossible to note any surface marks, but from the back there is no damage or repair.

John F. Campbell (1885-1966) - Illustrator - Campbell's original watercolour on card illustration from Commander Edward Hamilton Currey's book ' Ian Hardy - Fighting The Moors ', the piece titled 'The Death Of Salim.' The illustration can be viewed on page 318 of the book (an original first edition copy is included with the auction). Framed and glazed, total size 38cm x 30cm. Included alongside the painting is a folder of related ephemera regarding the publication, including letters from the Publisher to the Author, several handwritten letters from Currey (the author) to the publishers, letters from the Publisher to the illustrator and so forth. Interestingly the book appears to have been written during the First World War with many letters dated within the wartime period. Currey himself was a respected Royal Navy Commander and his history has been logged by the vendor within the folder. Also included is a draft copy of the illustration, with publisher's amendments noted in pencil. The folder of documents has been neatly presented and researched by the vendor. A late 19th / early 20th Century Middle-Eastern Jambiya ceremonial dagger is also included, and is presumed to have been the property of Currey - the scabbard and hilt profusely decorated in silver coloured white metal. Total length; 32cm. A unique collection.

A SMALL COLLECTION OF PICTURES AND PRINTS ETC, to include two Vic Bowcott watercolours depicting a street scene and a church, largest approximately 30cm x 34cm, E. Anne Rogers watercolour 'Colours of Portugal' - painting has slipped in frame, Cecily Mary Baker print, tile printed with an image 'Children eating grapes and a melon' by Bartolome Murillo, assorted other prints etc

Small Early 20th Century Watercolour on Card Painting by Fairfax Cameron

Victor Noble Rainbird watercolour painting titled “Westminster” Signed & dated (1932) by the artist bottom left - 19.5x24.5cm, frame size 33x39.5cm

Framed watercolour painting of Tynemouth “Priory” signed & dated by the artist Ronald Moore (1985) L73xW53cm

Peter Gilman (British 1928-1984): 'Towards Whitby', watercolour signed, titled and dated 1981 on exhibition label verso 12cm x 17cm Notes: illustrated in 'Peter Gilman: Painting East Anglia and Beyond' p.85

A quantity of pictures including a framed Print 'The Strand', mixed media painting 'Fox Trot' by Chevallie '78, oriental watercolour of birds and plants, etc.

A quantity of pictures to include; an engraving from a picture after Mr Wooton, an engraving by S. Middiman titled 'The View of the Ruins of The West Tower and Front of Hereford Cathedral', a quantity of James Law watercolours of Coastal scenes, a small oil painting signed 'Camino' titled 'Venezia', a watercolour of French Alps by Martin Preece, etc.

Tatiana Radko. Seven of Clubs / Queen of Clubs. 'Maria, Queen of Clubs'. Mixed media, pressed paper, acrylic on board, 27.5 x 20.5cm. Signed. Tatiana Radko was born in St.Peterburg, Russia. After graduating from The Children's Fine Arts School she began her studies at The St.Peterbug Academy of Arts -Repin Academy. During those formative years, Tatiana participated in group artistic exhibitions with her works. From 1992, Tatiana has been living and working in London. Her works can be found in private collection all over the world; including Russia, The USA , France , Spain, The UK and Austria. Tatiana is experimentive and works in various different media and painting techniques; Oil, acrylic, pastel, watercolour and woodcut printing are her favourites. Aside from creating original artwork, she can collaborate with clients on commissions.

Bridget Moore, Sen RBA NEAC RWS. Two of Diamonds. 'Diamond Girls'. Gouache on board, 22 x 17cm. Signed on reverse. Bridget was born and brought up in Whitstable Kent. She studied at Medway College of Design, Epsom School of Art and the Royal Academy Schools and she has continued to paint and exhibit widely in many group and mixed shows in London and across the UK including RA Summer Exhibitions, Sunday Times Watercolour competitions, the Discerning Eye and the Lynn Painter-Stainers Prize. She is a member of the Royal Society of British Artists, the New English Art Club, the Royal Watercolour Society and the Small Painting Group. Bridget's subject matter encompasses theatrical themes including sideshows and circuses as well as memories of childhood and intimate domestic scenes. She keeps sketch books filled with notes and observations and drawings and ideas which are integral to her way of working. These form the root of a painting and she then sees where it leads. She works mainly in gouache but also oils and mixed media.

Annie Boisseau, RBA. Five of Diamonds. 'Diamonds in the Sky'. Acrylic on board, 26 x 26 cm. Signed on reverse. Annie Boisseau studied Fine Art at Goldsmith's College, University of London and Exeter College of Art and Design. She is a member of the Royal Society of British Artists (RBA) and The Small Paintings Group (SPG). Awards include The Winsor and Newton Award for painting and The Artist Magazine Award. Her work has been exhibited widely in national exhibitions, The ING Discerning Eye and the RWS Contemporary Watercolour Competition. International Art Fairs include, The Olympia Art Fair and The 20/21 British Art Fair. She shows regularly with many galleries throughout England. Her work is held in The University of Surrey art collection. Art uk.org. Private collections include in France, China and Japan. www.annieboisseau.com

Susie Lidstone, SFP MSAI. Jack of Spades. 'See the Beauty in Life'. Watercolour/acrylic on paper, 24 x 18 cm. Signed. "My Jack of Spades painting shows plants growing with the interweaving of stems that twist together forming a bond that is difficult to separate unless disease fractures them. Flowers have so much in common with the shape of the kidneys and the amazing structures within each that has a lyrical connection but can be broken so easily which is why the work of TLC is so vital. As we plant and see our labours flourish we need to cherish all life we are all precious. I have been painting for over 40 years, producing work which falls into two areas: Floral and Architecture. The common thread is the detail within every painting that I produce. When you are passionate about your work it becomes part of who you are. Without it, I wouldn't be Susie". www.susielidstone.com

A CHINESE WATERCOLOUR PAINTING, DATED 1987. Watercolour on paper mounted on silk of figure admiring a waterfall, seated in a landscape scene. Dated Ding Mao year, 1987. Framed and glazed. Total frame size 85cm x 56cm. Artwork in good overall condition. Some wear to frame. Paper backing with tear to top.

Tom Dudley 'Sand Send Coastal Scene' watercolour, signed, 15 x 23 cms, together with two painting by Alexis Kalaeff

Eric Ravilious; Incline Press; Alan Powers, Barry Kitts & Ronald Maddox ‘In Place of Toothpaste. Three Essays Celebrating the Watercolour Painting of Eric Ravilious’, Oldham, Incline Press, 2004, limited edition, (250), out of series, inscribed presentation copy for Keith Stubley to limitation page, five tipped in colour plates plus facsimile of a letter from Edward Bawden as called for, title page decoration from an original wood engraving by Eric Ravilious, printed on Zerkall paper, 4to, original quarter cloth gilt over patterned paper covered boards, printed paper label to front cover

ALBERT RÀFOLS CASAMADA (Barcelona, 1923-2009)."Promenade".Mixed media (watercolour, pencil and paint) and collage on cardboard.Signed and dated in the lower left corner.Provenance: Private collection.Measurements: 30 x 32,5 cm.From 1963 onwards Ráfols Casamada incorporated the collage technique into his art, practising it from then until the end of his career. As the artist himself stated, his interest in collage was awakened by two exhibitions of the German artist Kurt Schwitters and Joan Miró, respectively, which he visited in Paris. The newspaper clippings, bus tickets and other banal objects with which he constructed his collages were for Ràfols "Small traces of life full of poetry".A painter, educator, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He began 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.

Taxidermy: A Late Victorian Cased Himalayan Snowcock (Tetraogallus himalayensis), dated 1891, by Thomas Jefferies, Taxidermy, Carmarthen, Wales, a full mount adult with head turning slightly to the left, perched upon a dry tree stump, amidst a natural setting of grasses and fauna, above painted rock and soil groundwork beneath, set against a watercolour painted sky back drop, enclosed within a period ebonised three-glass display case, 59cm by 23cm 66cm, bearing handwritten paper label to verso - "Himalayan Snowcock 1891".Some amateur restoration found - two modern posidrive screws to underside securing the tree stump within, over painting to exterior of case, all glass good, 21/09/22

A Chinese rice paper painting of militia in training, late 19th century, the troops showing the long pointed hudiedao and double swords known as shuang-jian, watercolour on rice or pith paper, 5¼ x 11¾in. (13.3 x 29.8cm.), framed., Hardly detectable horizontal fold through centre of image. Little fading, strong colour.

Follower of Lu Ji (circa 1475-1503), probably Ming period, 17th / 18th century, a pheasant, pair of ducks, other birds and flowers, watercolour on linen, signed and with red seal to left side, 27 ¾ x 15 ¾in. (70.5 x 40cm.), framed and glazed., * Has not been examined out of the frame (which is fairly modern - 1980s-90s). The linen has toned to a light brown across the painting. Two patched thumbnail size holes with retouching to upper right hand side and one smaller to centre right side in blue blossom, plus a few other tiny retouches. A few small lighter spots to linen (possibly due to old cleaning)., Has not been examined out of the frame (which is fairly modern - 1980s-90s). The linen has toned to a light brown across the painting. Two patched thumbnail size holes with retouching to upper right hand side and one smaller to centre right side in blue blossom, plus a few other tiny retouches. A few small lighter spots to linen (possibly due to old cleaning).

A Chinese scroll painting, 20th century, watercolour on paper, signed with calligraphy and oval red seal, depicting a serene mountain lake landscape, with boats sailing around a rock arch, misty cliffs towering above, 38 x 12½in. (96.5 x 31.75cm.), overall 54 x 15 1/8in. (137 x 38.5cm.). Some foxing visible in places to the pale unpainted areas. Small white paint spot to the lower left margin and small brown mark towards upper right corner at top of mountain. Several horizontal creases to the paper - one at the top and another near the lower margin, and two at centre left.

Chinese School - a watercolour scroll painting, probably mid-20th century, depicting two cranes in a moonlit landscape with river and waterfall, a pair of birds in the branches of the fir tree above, signed, inscribed to label to reverse, 39½ x 16 7/8in. (100 x 43cm.), the scroll backing fragile. The watercolour in has some toning to the paper and some foxing in places. There are several horizontal crease marks from folding slightly when rolled. The backing scroll is fragile and starting to split away from the wooden rollers at the top and bottom. There is a large tear to the top left and several creases.

Peter Collyer (British, b.1952), North side of Brecqhou from Sark. * watercolour, signed inscribed and dated ’99, Chris Beatles label on reverse ‘Exhibited Peter Collyer South by South Wesr Painting the Channel Islands, May-June 2000, No 13 illustrated: Peter Collyer South by South West Bradford on Avon, Thomas Reed Publications 2000 p81’, in a gilded reeded frame. * 3¼ x 5¾in. (8.2 x 14.6cm.). * Good

Percy Kelly (1918-1993), Farm near Great Ellingham Norfolk, watercolour. 9.5 cm x 19/.5 cm. With certificate of authentication from Rob David verso. This painting formed part of a letter sent by Percy Kelly to Joan David. The collection of correspondence was inherited by her son Rob David. (see illustration) ARR.

Donald A Paton (Edward Horace Thompson 1879-1949), a watercolour "Evening Mists" after rain Isle of Skye. 24 cm x 34 cm, framed, signed (see illustration). CONDITION REPORT: The watercolour is in generally very good order with no significant issues. The small marks that appear on the right-hand side of the image are on the glass not the painting. The mount and frame are in generally good order and serviceable.

Bryan Pearce (British 1929-2007), "Hayle Harbour" signed, oil on board handwritten label verso, inscribed Hayle Harbour by Bryan Pearce, Chylowen St Ives Cornwall. Provenance - purchased directly from the artist circa 1963 and then by descent from the original owner to the present owner (see illustration). ARRWalter Bryan Pearce was born in St Ives in 1929. At a young age he was diagnosed with phenylketonuria and was encouraged by his parents to take up painting in watercolours and drawing. His artistic career showed a wide range of mediums, ranging from his careful use of watercolour in his early years, to his more self assured use of oil paint in the 1950s, and then later, his more dramatic and sophisticated interpretations using conte crayon. In 1953, he was encouraged to attend the St Ives School of Painting, where he studied under portrait and still life painter Leonard Fuller. He remained there until 1957. The St Ives School was heavily inspired by the landscape of West Cornwall, and its artists used the shapes, colours, and forms of the region as inspiration for their artwork. Pearce, himself, specialised in paintings of St Ives and surrounding areas such as Penwith. He saw his hometown as a 'sanctuary of ever-present sun' and this can be seen in his artwork, which is recognisable for its very flat perspective and vibrant colour with bold outlines. In his oil painting of Hayle Harbour, these qualities can be visualised in a very naive manner. Walter Bryan Pearce was a revered figure in West Cornwall and exhibited extensively there, and other galleries around Britain. In 1957, for example, he began exhibiting regularly at Penwith Gallery, St Ives. He then had his first solo exhibition at the Newlyn Gallery in 1959, after becoming a member there. Other galleries he exhibited at include the New Art Centre, the Victor Waddington Gallery in London, the Beaux Arts Gallery in Bath, and the Oxford Museum of Modern Art. Following his death in 2007, his works featured in an exhibition at the Tate St Ives, and today some hang on the walls of galleries including Kettle's Yard in Cambridge. CONDITION REPORT: The oil on board 31 cm x 50 cm, the frame 39 cm x 59 cm. This painting is structurally sound with a stable paint surface. When studying the paint surface there is the occasional small spot of dirt in line with age. There are also occasional scuff marks to the edge of the board with one sizeable one 0.5 cm in height bottom left. The original board is attached/glued down to a backboard which has then been framed in the latter half of 20th century. To the rear of the painting there is a label which is inscribed with the artists name and title. The dimensions of the oil on panel are 31 cm x 50.5 cm. The dimensions of the entire picture to include the frame are 39.5 cm x 59 cm.

Edward Horace Thompson (1979-1949), watercolour, probably Derwentwater, 33 cm x 48 cm, signed and dated 1926. CONDITION REPORT: The painting is in generally fairly good condition with no significant issues. It is from the same property as lot 632A and again it may have been subjected to damp at some point. The sky is a little discoloured in places and is showing signs of the beginning of foxing. The gilt slip is not in particularly good order and neither is the frame.