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* IRENE HALLIDAY RSW (SCOTTISH b. 1931),NIGHT FISHINGmixed media on paper, titled label versoimage size 49cm x 24cm, overall size 63cm x 38cm Mounted, framed and under glass.Artist's label verso.Note: Irene May Halliday was born in Kingsmuir, Scotland and attended Duncan of Jordanstone College of Art in Dundee between 1948 and 1953, studying under Alberto Morrocco. From 1956-1979 she worked at Didsury College of Education becoming Head of Art and Design. She spent an academic year as visiting Professor at State University College, Buffalo, New York State from 1972 to 1973. She left full-time teaching at Manchester Polytechnic in 1979 but continued to teach summer schools in Alston, Hull, Lancashire and Harrogate. Irene Halliday was elected to the Royal Scottish Society of Painters in Watercolour (RSW) in 1955, she has exhibited at the Royal Academy (London), the Royal Scottish Academy, the Royal Glasgow Institute of Fine Arts and elsewhere. She had several dozen solo exhibitions in England, Scotland and America. Public galleries in Edinburgh, Bolton, Dundee, Salford and elsewhere hold examples. She never moved far from "Scottish painting" and in 2002 returned to live in Arbroath inspired by the sea coast, harbours and land around her home.

DOROTHY BRUCE PAI (AMERICAN/SCOTTISH),KIRKCUDBRIGHTink & watercolour on paper, signed and titledimage size 28cm x 40cm, overall size 42cm x 54cm Mounted, framed and under glass.Note: Dorothy Bruce was born in Wisconsin, USA, gaining her Bachelor of Art from the Minneapolis School of Art, now The Minneapolis College of Art and Design.She travelled extensively in the States and Australia, participating in Group Shows, before holding a one-woman Exhibition in Brisbane, Australia. She has lived and worked in Scotland for over 40 years, painting the landscapes and coastal scenes that are so distinctive to this country. The continually changing light and austerity of much of the Northern Highlands and the West Coast of Scotland are recurring themes in much of her work. During these years she has enjoyed numerous one-woman shows on the West Coast, Glasgow, Edinburgh, Aberdeen and Aberfeldy, plus Group Exhibitions throughout Scotland, including The Royal Society for Painters in Watercolour.

* CAROLA GORDON (SCOTTISH b. 1940),WINTER - ANN STREET (Edinburgh)oil on canvas, signed, titled labels versoimage size 19cm x 19cm, overall size 28cm x 28cm Framed. Label verso: The Open Eye Gallery, Edinburgh.Note: Carola Gordon was born in Lucknow in India in 1940 and was educated between 1948 and 1961 at school and university in Pietermaritzburg, South Africa where she graduated in English and Fine Art. Between 1961 and 1963 she studied for English Tripos at New Hall, Cambridge and from 1963 to 1965 she attended Edinburgh College of Art where she studied Drawing and Painting. In 1966 she returned to South Africa, but then moved to Scotland and settled in 1977 when she began to work full time as an artist producing watercolours and oil paintings. She exhibits regularly in Scotland at the Open Eye Gallery and with the Royal Scottish Academy, the Royal Glasgow Institute of the Fine Arts, the Royal Scottish Society of Painters in Watercolour, the Society of Scottish Artists and Craftsmen and Visual Arts Scotland. Her work is held in private collections in Scotland, England, USA, Canada, Australia, Germany and South Africa and her awards include the Lily MacDougall Award and Martin and Frost Award. Public collections include the City Art Centre in Edinburgh, the New Hall in Cambridge and Tatham Art Gallery in Pietermaritzburgh, South Africa.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),CONTINENTAL FIELDSoil on board, signed and dated '01image size 40cm x 44cm, overall size 54cm x 59cm FramedNote: 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" (Kilbarchan) 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.

* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),STILL LIFE WITH HEN & CORMORANToil on canvas, signed, titled label versoimage size 77cm x 77cm, overall size 95cm x 95cm Framed. Artist's label verso.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.

* 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).

* LADY LUCINDA L MACKAY (SCOTTISH b. 1941),NEW COLLEGE FROM PRINCES STREET (Edinburgh)watercolour on paper, monogrammed and dated '99, titled labels versoimage size 34cm x 49cm, overall size 51cm x 66cm Mounted, framed and under glass.Label verso: The Torrance Gallery, Edinburgh.Note: Born in Berkshire, Mackay was brought up in Scotland and educated in Switzerland. She trained at Edinburgh College of Art under William Gillies, graduating in 1965, and undertook postgraduate studies at the Central School of Art, London in 1973. Alongside her career as a professional artist, painting portraits, landscapes and still-life and exhibiting widely, Mackay has worked as a teacher of art, design and ceramics. Her paintings are characterised by bold brushwork and vibrant colours. Mackay lives in Edinburgh. Nine of Lucinda Mackay's works are held in UK public collections including The National Galleries of Scotland.

* 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).

* IRENE HALLIDAY RSW (SCOTTISH b. 1931),TRAWLER Ioil on board, signed, further signed and titled versooverall size 123cm x 122cm Unframed, as intended.Comment: Halliday favoured depicting fishing boats from unusual angles and "Trawler I" is an overhead view with an element of abstraction. This is a very large work for Irene Halliday and it was probably a centrepiece for a solo show. Museums & Galleries Edinburgh (City Art Centre) have "Arbroath Lobster Man" a smaller oil on board which shows a near overhead view of a fisherman in his boat. Note: Irene May Halliday was born in Kingsmuir, Scotland and attended Duncan of Jordanstone College of Art in Dundee between 1948 and 1953, studying under Alberto Morrocco. From 1956-1979 she worked at Didsury College of Education becoming Head of Art and Design. She spent an academic year as visiting Professor at State University College, Buffalo, New York State from 1972 to 1973. She left full-time teaching at Manchester Polytechnic in 1979 but continued to teach summer schools in Alston, Hull, Lancashire and Harrogate. Irene Halliday was elected to the Royal Scottish Society of Painters in Watercolour (RSW) in 1955, she has exhibited at the Royal Academy (London), the Royal Scottish Academy, the Royal Glasgow Institute of Fine Arts and elsewhere. She had several dozen solo exhibitions in England, Scotland and America. Public galleries in Edinburgh, Bolton, Dundee, Salford and elsewhere hold examples. She never moved far from "Scottish painting" and in 2002 returned to live in Arbroath inspired by the sea coast, harbours and land around her home.

* 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 BIRNIE RSW RGI (SCOTTISH 1929 - 2006),FROM THE ENDRICKoil on board, signed and dated '89, titled label versoimage size 59cm x 55cm, overall size 71cm x 67cm Framed.Handwritten label verso.(The Endrick Water or River Endrick is a river which flows into the eastern end of Loch Lomond)Comment: Rare subject matter for Bill Birnie but a superb example of his talent. 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.

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018),GULLS & HARBOUR, ANSTRUTHERpastel on paper, titled label versoimage size 34cm x 52cm, overall size 50cm x 72cm Mounted, framed and under glass.Artist's label verso.Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018),UNTITLED mixed media on paper, signedimage size 56cm x 76cm, overall size 78cm x 97cm Mounted, framed and under glass.Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.

* AVRIL PATON (SCOTTISH b. 1941),THE ASTROLOGER (LAMURA VON BOELLING) watercolour on paper, signed, titled and dated 1994 label versoimage size 46cm x 34cm, overall size 77cm x 68cm Mounted, framed and under glass. Label verso: The Gatehouse Gallery, Glasgow.Comment: The painting was kindly authenticated for us by Arvil herself. Paton was able to provide additional context for the picture, saying that although the label verso dates the picture as 1994, it was painted in 1993, and purchased from the gallery in 1994. The portrait is of Lamura Von Boelling, a Canadian astrologer who came to Glasgow in the 1980s and taught astrology to many in the city. Note: a rare early work by Avril Paton, the artist who painted "Windows in the West", one of Scotland's best known and most popular contemporary paintings which was acquired for the nation by The Scottish National Gallery of Modern Art and is currently on display at Kelvingrove Gallery, Glasgow. There has been much written about Paton's work from the 1980/90s explaining the meticulous detail and the many months it took to complete a single picture. Paton eventually moved on to a more spontaneous abstract style of work and consequently her earlier paintings are a distinct isolated body of work and the examples from this time are few and rarely, if ever, appear at auction. However, in The Scottish Contemporary Art Auction on 16th August 2020 lot 591 Topping Out Day by Avril Paton was sold for a new auction record price of £8000 (hammer). Paton's early work from this period has been studied as part of the curriculum for many of the nation's youth and there are several talks and discussions on YouTube.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),THE YELLOW GABLE (KILBARCHAN)oil on board, signed and dated '83, titled and further dated labels versoimage size 31cm x 61cm, overall size 40cm x 70cm Framed.Handwritten artist's label verso.Label verso: The Macaulay Gallery, Stenton.Comment: In our opinion, a special Kilbarchan picture. Birnie's compositional skills are strongly evident in this specific view of the village he lived in and loved. No doubt Birnie will have immediately realised how "The Yellow Gable" presented the opportunity to legitimately introduce a big block of bold colour which will have made painting this scene irresistible. His "The Red House" (referred to below) is another example of how Birnie understood how featuring one strong and perhaps unexpected colour can transform and define a composition.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 good overall.

Giuseppe Vizzotto Alberti (Italian, 1862-1931) On The Giudecca signed and dated lower right. Watercolour on paperW:32cm x H:16.5cm dimensions of painting

Charles Henry Theodore Costantini ( Attributed ) 1803 - 1866. Subject ' Young Girl In Early 19th Century Dress, Playing with a Toy Horse ' Unsigned. Pencil Ink and Watercolour on Paper / Framed. Dimensions of Painting - 7.8 x 6.5 Inches - With Frame 12 x 10.3 Inches.

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.

A 19th century watercolour painting of a gentleman in a gilt frame, 18 x 12.5cm

Alfred Calvert (1821-1894) A watercolour painting of 'The Nile at Kom Ombo' 11 x 18cm

Gerard Dillon (1916-1971)Clown DreamingOil on board, 41 x 51cm (16 ¼ x 20")Signed, inscribed versoProvenance: With The Dawson Gallery, Dublin,  label versoA fantastically imaginative and slightly surreal work, Dillon has placed his sleeping clown atop of what appears to be the traditional striped roof of a circus tent. It spreads out around him enveloping him in a strange floating landscape. The bird perched on a nest of twigs offers an injection of colour within the otherwise grey environment of the painting. Its yellow and black body is reflected in the waxing circular orb rising above it, potentially the sun being overtaken by the moon and darkness setting in. Or is it an offering of hope by the artist, of the coming dawn which will awaken our sleeping protagonist?Clowns were very common in Dillon’s work from the 1950s onwards and he often depicted them in states of slumber such as Dreaming (sold in Whytes in 2018) or the watercolour Face in Sky sold in these rooms in 2020 as part of the McClelland Collection which depicts a harlequin figure awake while the clown dreams. In his works he adopted the traditional figure of Pierrot, the commedia dellarte character dressed in all white, wearing his typical pointed hat.Usually, the landscapes around the sleeping figures are expansive and filled with colour but in this instance, it is a much more constrained composition. The only suggestion of something beyond this scene is the bird enclosed within a frame, as if looking through a window out onto another world, into the subconscious mind of our dreaming subject. The darker palette and more sombre colour tones of this work may suggest the proximity to the danger or fear within our dreams. Works of this period are often associated with the traumatic events occurring simultaneously in Dillon's personal life, most notably the premature passing of his brother. Through sombre and somewhat haunting compositions, they are imbued with a sense of desolation and sorrow.It has also been suggested that Dillon adopted the clown as an alter ego, a persona that he could express his own emotions and fears, and it is true that in some works he even depicted them as artists. In The Artist, sold in these rooms in 2017, the protagonist stands before an easel painting an unseen canvas, potentially creating the larger composition forming behind him. In this work the sleeping figure holds something aloft in his hand, his arm outstretched and reaching triumphantly into the air. Is it an instrument of his trade, a prop used to entertain? Or could it be a paint brush, the essential tool of Dillon’s own trade, referencing his vital role within the creation of the work. Niamh Corcoran, August 2022

Heywood Hardy (British, 1843-1933). Oil on canvas painting titled "The Fresh Team," depicting a rural inn with two teams of horses. Signed along the lower left.Hardy was well known for his equestrian paintings and depictions of animals as well as landscapes. While originally a musician, Hardy eventually decided to leave that career behind to become a painter. Stemming from a family of artists, his first two paintings were accepted for exhibition at The Royal Academy in 1864. He studied at the Ecole des Beaux-Arts in Paris before returning to London and beginning his long career of studying wildlife and horses. He was a founder of the Royal Society of Portrait Painters and the Royal Society of Painter-Etchers as well as a member of the Royal Institute of Oil painters and an associate of the Royal Watercolour Society.Unframed; height: 20 in x width: 30 in. Framed; height: 27 1/2 in x width: 37 1/2 in.

Audrey Cruddas (British, 1912-1979)Artist with a Seagull signed 'A. CRUDDAS' (lower right)oil on canvas61 x 50.8 cm. (24 x 20 in.)Painted circa 1948Footnotes:ProvenancePeter NahumHis sale; Christie's, London, The Poetry of Crisis: The Peter Nahum Collection of British Art, 15 November 2006, lot 156Private Collection, U.K.Audrey Cruddas was a well-rounded artist excelling in a variety of media, including stage design, pottery, oil and watercolour painting. Academically trained as a painter in her youth, she later moved on to produce sets and costumes for some of the most prestigious institutions in the country, such as Covent Garden, The Old Vic, the York Mystery Plays and the Edinburgh Festival. During World War II, she was in the Women's Land Army. In the 1950s, she retired to Great Bardfield, in west Essex, where she was part of the Great Bardfield Artists alongside Edward Bawden, Eric Ravilious and Tirzah Garwood. Today, the Victoria & Albert Museum and British Museum hold her work.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

A group of pictures to include a watercolour of a village street scene, 35cm x 45cm, mounted in glazed frame, town street scene with horse and carriage, oil on board signed, with gallery label to verso, 40cm x 50cm, gilt frame, late Victorian oil on board of a river landscape, unsigned 22cm x 27cm, gilt frame, a oil on board village green scene, monogram to lower right, 22cm x 38cm, gilt frame and an abstract oil painting on canvas signed indistinctly 50cm x 40cm, framed (5)

G F Harris (British late 19th /early 20th century) - an Edwardian portrait of a gentleman wearing spectacles and a cameo cravat brooch, oil on canvas, signed and dated 1907 to lower right, mounted in later gilt frame, with associated paperwork from the Courtauld Institute of Art detailing the conservation record of the painting together with a group of three framed and glazed pictures - Frangou - gouache/watercolour, coastal headland with a tree, bushes and flowers, signed 37.5cm x 27cm, mounted in gilt frame; Harry Francis (Frank) Constantine (1919-2014) - The Cocktail Bar, chalk drawing on paper, signed and dated '63, 51cm x 36.5cm, in oak glazed frame; and T Morry Fish ? - sketch of a girl on a chair, charcoal and coloured crayon, signed framing invoice and label reading 'Kindly donated by Fiona Fullerton Team up with The Marsden Help Cancer verso, 84cm x 48cm in glazed frame Location: ROS

Miniature painting of Mumtaz MahalIndian, Mughal 19th Centuryhalf portrait, dressed in regalia and jewels, watercolour on paper, set in an ebonised frame with metal mounts, image size 5.8cm high The frame is cracked and loose (we do have some of the loose frame so the minature is seperate now from the frame

HERBERT WILLIAM HICKS [1880-1944] GOUACHE AND WATERCOLOUR PAINTING OF A DARTMOOR LANDSCAPE WITH STREAM AND TORS BEYOND. SIGNED

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies I".1988.Watercolour on paper.Signed with stamp in the upper margin.With label on the back of the gallery Fernando Alcolea, Barcelona.Size: 16 x 20 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 European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances 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)."Deux amies II.Watercolour on paper.Signed with stamp in the left margin.Size: 16 x 20 cm; 31 x 36 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 European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances 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.

China - Vietnam - - Sammlung von vier Original-Zeichnungen mit Darstellungen aus China und Vietnam. Um 1860. Je Aquarelle auf Papier, auf Karton kaschiert. Maße je 17,5 x 25 cm. Je monogrammiert "G de M". Die vorliegenden Zeichnungen scheinen in der Zeit des Chinafeldzugs (1860) und der Eroberung von Cochinchina durch Frankreich (1862) entstanden zu sein. enthalten sind folgende Motive: Chefoo (Zhifu), Golf von Petchili. Zu sehen sind etwa 30 westliche Schiffe, die in der Reede von Zhifu vor Anker liegen. Diese Szene könnte der Ankunft der französischen Truppen unter General Cousin-Montauban in Zhifu am 6. Juni 1860 entsprechen, während der französisch-englischen Expedition nach China, die im Oktober mit der Plünderung des Sommerpalastes und der Eroberung Pekings endete. - Chinesische Boote vor einer Hafenanlage. - Landungsplatz in Saigon (Cochinchina). Stellt eine Landungsstelle dar, die von mehreren kleinen Booten und verschiedenen Gebäuden umgeben ist. Die französische Flagge ist zwei Mal zu sehen. - Fischerdorf mit Personen und Booten. Darunter ein westliches Schiff. Im Hintergrund ist ein Tempel oder eine Kirche zu sehen. - Der Urheber war wahrscheinlich ein Seemann oder Reisender, der sich in den frühen 1860er Jahren im Fernen Osten aufhielt. Einige Details wurden besonders sorgfältig dargestellt, so z.B. die Schornsteine auf den ersten vier Schiffen des Zhifu-Bildes zwischen dem Fockmast und dem Großmast, die zeigen, dass es sich um dampfbetriebene Schiffe handelt. - Papierbedingt etwas gebräunt. 1 Bl. etwas fleckig. Insgesamt gut erhalten. China - Vietnam - Collection of four original drawings depicting China and Vietnam. Around 1860, each watercolour on paper, mounted on cardboard. Each monogrammed "G de M". - The present drawings seem to have been made during the China campaign (1860) and the conquest of Cochinchina by France (1862). They contain the following motifs: Chefoo (Zhifu), Gulf of Petchili. About 30 western ships are seen anchored in the roadstead of Zhifu. This scene may correspond to the arrival of French troops under General Cousin-Montauban in Zhifu on 6 June 1860, during the Franco-English expedition to China that ended in October with the sacking of the Summer Palace and the conquest of Beijing. - Chinese boats in front of a hafen. - Landing site in Saigon (Cochinchina). Depicts a landing site surrounded by several small boats and various buildings. The French flag can be seen twice. - Fishing village with people and boats. Among them a western ship. A temple or church can be seen in the background. - The author was probably a sailor or traveller who was in the Far East in the early 1860s. Some details were particularly carefully depicted, e.g. the funnels on the first four ships of the Zhifu painting between the foremast and the mainmast, showing that they were steam-powered ships. - Paper somewhat browned. 1 leaf somewhat stained. Overall well preserved.

Alice Clara Veronica Wynne, Irish (1890-1969) 'A Young Girl reflected in a Mirror,' O.O.C., depicting young girl with pigtails seated at a table with book catching her reflection, approx. 76cms x 64cms (30" x 25"), gilt frame. Provenance:  The Wynne Family, Tigroney House, Avoca, Co. Wicklow. Note:  The fact that this highly finished and carefully composed genre painting is unsigned suggests that it was submitted for an open competition of some kind. Indeed, it is highly likely that it was painted for entry in the 1913 Taylor Prize Competition. The set subject for that year was 'The Girl in the Mirror,' with first prize being awarded to Patrick Tuohy. However, amongst the four other prize winners that year was a Miss A.C. Wynne (information kindly supplied by Nancy Larchet, RDS). Little is known of this artist, except that she came from an artistic family renowned for the colourful tweed cloths they sold from their mill in Avoca, Co. Wicklow. Known to her family as Veronica Wynne, she was the third daughter of Albert Augustus Wynne and Alice Katherine Wynne, of Tigroney House, Avoca (Burke's Irish Family Records, 1976). Among her cousins and relations were the watercolour artists Gladys Wynne (1878-1968), Edith Wynne, May Wynne and Maud Wynne (see Nicola Gordon Bowe, Irish Women Artists Catalogue, 1987, page 194). Under the pseudonyms V. and E. Pringle-West, Veronica and her sister Emily were co-authors of Every Do: A Novel, published by Ernest Benn, London, 1929.  It appears therefore that Veronica Wynne abandoned what was a most promising artistic career in favour of literary pursuits.

British School (18th Century)The Royal Observatory, Greenwich and its meridian buildings from the south-south-east, c. 1790Oil on canvas 63.8 x 86.4cm (25 x 34in).Footnotes:Whilst we have never come across an oil painting with the Royal Observatory being the sole focus of the picture, the National Maritime Museum, Greenwich has a similar view, in watercolour, probably by the same hand, which they date to 1779-89 (I.D. - NMM AST0042).Dr Pieter van der Merwe, Curator Emeritus for the National Maritime Museum, writes about the watercolour:'Watercolour of the Royal Observatory and its meridian buildings from the south-south-east, the artist's viewpoint being roughly from in front of the entrance to the late-19th-century South Building. Modern Blackheath Avenue would be to his right, where the ground is also more level than shown.Notable features include the tall chimney of the rear extension to Flamsteed House that was added under James Bradley (1692-1762) as 3rd Astronomer Royal from 1742. His extension was demolished in 1789 and replaced by a larger one (with two tall chimneys) by Nevil Maskelyne (1732–1811), 5th Astronomer Royal from 1765. The two-storey building with a classical pediment is Bradley's 'New Observatory' of 1749 comprising a ground-floor computing room with an assistant's quarters above and two single-storey wings holding a quadrant room to the west and Bradley's transit room to the east: the roof of the latter is shown open for transit observations on Bradley's Greenwich Meridian, established in 1750 (about 6 metres west of Airy's, the current Prime Meridian of 1851).The image dates to after 1779 since the so-called 'Advanced Building' – the one with the sloping (and opening) roof was built to contain new instruments in that year, south of Bradley's quadrant room and as an upward extension of John Flamsteed's 1670s sextant house: neither now survive. The side windows of Flamsteed House are also inaccurately shown as three panes wide when in fact they had four and were vertical-opening upper and lower casement pairs from 1779 until changed to single sashes in 1790. The vent-like finial on the west turret is the rotating lens of the camera obscura that Maskelyne installed there by 1778.The domed building at left seems to be at the south-west corner of Bradley's Flamsteed House extension but this is owing to misleading perspective. It is in fact the western summerhouse on the Observatory's north terrace, though it may not have been so fully visible from the artist's apparent viewpoint. Its eastern pair is hidden by Bradley's New Observatory. In 1773 Maskelyne raised the height of the summerhouses and extended them south, adding hemispherical domes and upper horizontal windows (of which one is shown here). The domes opened to observe comets using a pair of equatorial sectors installed under them.The pitched-roof building at lower left (in fact more square than rectangular) is the 1670s 'Garden House' used as a stable through the 18th century, with sloping access up to the gate shown in the perimeter wall: it is today a flat-roofed plant room. The other shed, apparently wooden, is undocumented and probably for an associated purpose (e.g. a hay store). The foreground shows former sand and gravel workings on the south-west and south side of the hill, now a partly terraced garden area. This early quarrying had stopped when the Observatory was built in the 1670s, or very soon after.The drawing arrived, originally on loan to the National Maritime Museum from the Royal Greenwich Observatory, in a rather damaged gilded wooden frame. It may be the image of the Observatory that is second on a list of a dozen pictures, formerly belonging to Nevil Maskelyne, that his wife presented to the Observatory and left at Flamsteed House when she moved out in 1811, following his death. When the Royal Greenwich Observatory closed in 1998, ownership of this and other items belonging to it was transferred to the Museum. See ZBA0692 for further details.'Into the later 19th century Blackheath itself (south and east of the Park walls) was largely gravel and sand pits between the roads until they started to be filled in. This was finished after World War II with bombing rubble from the London blitz, grassed over level as it now is, except the Maze Hill pit which still survives just outside the south-east corner of the Park - now a large grassy and gorsey declivity about 15 to 20 feet below the road: it tended to be a hangout for the highwaymen and footpads who infested the Heath in older days. However, robbery wasn't a problem in the Park which was fully walled round in 1619-25 (replacing about 200 years of only being fenced) under James I, a large job finished in the year he died.Dr van der Merwe also comments on the similarities between the watercolour and our picture – 'The (fanciful) rocks are a little different but the figures are the same, the turret domes the same (one with a vent finial) the other not, the trees at the back of the building the same and also the half-open sash window at lower right.' He also points out that our oil painting shows the central south window of Flamsteed House being three panes wide, as opposed to four in the Museum's watercolour version. As there is a watercolour of 1843 which also shows a clear view of the south window as a sash, also three panes wide, one might infer that the oil painting follows the watercolour, perhaps after the long Great or Octagon Room windows were all changed to sashes in 1790.The Royal Observatory of Greenwich is known for hosting the Prime Meridian of the world. During the second half of the 19th century, the expansion of transport networks created the need for an international time standard as almost every city in the world had its own local time. In 1884, delegates representing 25 different nations met at the International Meridian Conference in Washington DC. Greenwich was chosen to be the Longitude 0° 0' 0''; the centre between the Eastern and Western hemispheres.We would like to thank Dr Pieter van der Merwe for his help in cataloguing this picture.For further information on this lot please visit Bonhams.com

A small French oil painting on panel of figures on a beach, signed “Lamoir”, 6¾” x 9”; another similar oil painting in glazed frame, 7” x 10”; & a small watercolour signed J. Herbert “Off Scarborough”, 4½” x 6½”, framed & glazed. (12½” x 15” over-all).

ENGLISH SCHOOL, 20th century. A naïve watercolour painting of the sailing ship “Nelly”; unsigned, 8½” x 14¼”; in glazed bird’s-eye maple frame. (12½” x 18½” over-all).

TOM CLOUGH watercolour - a narrow lane between terraced houses, signed, 36.5 x 47.5cmsProvenance: This painting was presented to the vendor as a small child for her Christening by the artist. Mr Clough met the vendor's father in Betws y Coed in the 1930s when he enjoyed painting the still pool. They became friends and her father would occasionally buy Mr Clough a meal at the Gwydir Hotel and later cared for Mr Clough by taking him into their family home when he was poorly for a period.

20th century Indian watercolour painting of young woman and man dancing in exotic landscape with yellow ground border, 81 x 102 cm; together with African market scene, dyes/ink on cotton, 45 x 78 cm, framed and glazed (2)

ALBERT MOULTON FOWERAKER (1873-1942) UNTITLED, A RURAL MOONLIGHT SCENE, a female figure holding a pail is walking before a thatched cottage, signed bottom right, watercolour on paper, approximate size 22cm x 28cm, later framed and glazed (Condition: there are several pale coloured deposits on the surface of the painting)

EDWIN HAYES (BRITISH 1819-1904) 'ENTRANCE TO GORLESTONE HARBOUR', a coastal scene depicting a wooden tender to the foreground with steam tug and sailing ship to the distance, signed bottom left, watercolour on paper, attribution and title to the mount, approximate size 13cm x 29cm (Condition: visible mould and staining to the mount, mould spores visible to the painting when viewed under magnification)

EDWARD WESSON (BRITISH 1910-1983) 'AT PIN MILL', boats on the water at Pin Mill in Suffolk, signed bottom left, watercolour on paper, mounted, framed and glazed, approximate size 20cm x 29cm (Condition: painting and frame are in good condition, comes with Gallery thirty three label with title attached to a portion of the original frame back board) (Artist resale rights apply)

Mounted watercolour painting of some buildings signed MS 55 - 36.5cm x 43cm

Framed watercolour painting of 'Cottage door and roses' by Perri Duncan - 47cm x 48cm

Watercolour painting mounted on board signed Gordon G Smith 1889 (biography affixed to reverse) - 51cm x 36.5cm ~ has original 1911 Coronation exhibition label on reverse with the title 'The Bridge & chateau of Nemours'

Framed 1899 watercolour painting of a river and landscape by Herbert Edward Butler (1861-1931) - 51cm x 41cm

Framed abstract watercolour painting signed with a K monogram - 47cm x 38cm

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

Framed watercolour painting of some trees + hill by M (May?) Morton - 57cm x 45.5cm

Mounted watercolour painting of a theatre scene signed at base - 55cm x 44.5cm

Framed watercolour painting of a man and a woman with studio stamp 'from estate of Boris Solotareff' - 48.5cm x 41cm

A CHINESE WATERCOLOUR PAINTING OF FIVE SILKIE CHICKS WITH THEIR PARENTS BELOW A TREE AND A STEM OF MILLET, THE FRAME. 117 x 80cms.

Two late 19th/early 20th century watercolour portraits, one depicting Lady Percy as a child, daughter of Algernon 10th Early of Northumberland, from a group painting by Van Dyke, a painting that is now in the collection of the National Trust at Petworth House, both in ornate glazed gilt oval frames, unsigned, labels to verso, largest 19cm x 14cm, and a miniature portrait watercolour of women's head, inscribed 12.5cm x 9cm, glazed gilt frameLocation:

English School - 19th century pencil and watercolour drawing of a peddler with a basket of fruit, a child by a stone cottage door taking a piece from the basket, with a cat laying on the door step looking on, by a grain scoop, unsigned, 28 x 22cm, mounted in a glazed gilt frame, together with a quantity of framed and glazed prints and paintings to include Christine Chagnoux (French b. 1939) - a group of four signed limited edition prints; Marriage by Register - a large Edwardian coloured print published 1902 by Arthur Tooth 57cm x 70cm; Patricia Stapleton '93 oil painting coastal scene, and others (7)Location: LWF

Rent Daywatercolour over pencil with gum arabic on paper, unframed43.5 x 62cmProvenance:With The Fry Gallery, London, by 1970, when sold to Walter Brandt,Thence by descent to his grandsonThe present watercolour is a copy after the oil painting by Sir David Wilkie in the collection of the Earls of Mansfield.

Cyril B Turner watercolour and pencil landscape painting of "Bure Marshes, Norfolk" with windmill, framed. (13 x 10cm frame size approx.)

A Chinese watercolour painting of a waterfall, with character marks and script to upper left corner, 94 x 174cms, in black frame.

Howard Guest - British School - Alport Mill Derbyshire. A vintage 20th century watercolour painting of a riverside mill. Measures 72cm x 55cm

Fabian de la Rosa (Filipino, 1869-1937)Filipino landscape with Nipa hut signed, dated and inscribed 'F. de la Rosa/MANILA 905' (lower right)watercolour32 x 23.2cm (12 5/8 x 9 1/8in).Footnotes:ProvenanceThe 'Germinal' Cigarette Factory's Souvenir, Manila, August 1905.This watercolour is dated 1905, just after De la Rosa won a gold medal at the International Exposition of St Louis in 1904 with his celebrated painting 'Planting Rice'. This success must have attracted the attention of the Germinal Tobacco Company. Manuel Duldulao writes in his biography of the artist 'Impressed by his work, the Germinal Tobacco Company, a cigar and cigarette manufacturing firm, sent Don Fabian to Europe as a pensionado, to study at the Académie Julian in Paris. The year was 1908.' (A Century of Realism in Philippine Art, page 35.)For further information on this lot please visit Bonhams.com

oblong, the hinged cover set with a glazed watercolour painting of flowers, signed indistinctly, the sides engine-turned96mm wideFully marked on bezel and part marked inside cover with English import marks. Engraved inside the cover 'Boucheron Paris - Londres'. There is some surface scratching and wear to the silver. The watercolour is perhaps somewhat faded. The gross weight is 158gr.

L. Goudie, street landscape, watercolour, another watercolour and a Chinese limited edition painting on silk

A selection of mainly 1930's/1940's military platoon portraits and other also a cariature portrait and unsigned watercolour painting

RAMÓN BARNADAS FÁBREGAS (Olot, Girona, 1909 - Vic, Barcelona, 1981)."Landscape with figures".Oil on canvas.Signed in the lower left corner.It presents some faults in the painting.Measurements: 50 x 65 cm; 67 x 81 cm (frame).A precocious painter, at the age of ten Ramón Barnadas entered the School of Fine Arts in Olot and made his individual debut in 1929, in the Layetanas Galleries in Barcelona. Only six years later he was appointed professor at the School of Fine Arts in his native city. He exhibited his work in Spain, Mexico and Switzerland, and won first prizes at the National Exhibition of Madrid and the International Exhibition of Palamós, the national landscape prize of the Estrada Foundation and the Ricardo Portabella prize. Barnadas, with his sketchy style, went beyond the lessons learned from realism and impressionism, becoming part of the evolutionary avant-garde of Catalonia at the time. This painter was able to establish his own language of landscape painting, seeking out and adopting new pictorial concepts. However, his work also encompassed the human figure, animal themes, still lifes, gypsy families and bathers, all depicted with the same inimitable talent as his landscapes. Throughout his career Barnadas showed his work at various exhibitions, notably those held at the Galerías Layetanas in 1927 and 1928, and at the Sala Barcino in 1933, 1924, 1935 and 1936, both in Barcelona. He was also awarded first prize for watercolour in the 9th Provincial Art Competition organised by the Diputació de Girona for his work "Gallinas" (Hens). After his death, his work continued to be shown to the public; in 2006 the Fontana d'Or cultural centre in Girona hosted a retrospective exhibition dedicated to him on the occasion of the twenty-fifth anniversary of his death, and in the same year another exhibition, organised by the Caixa de Girona, was dedicated to him. Between December 2008 and January 2009, the Les Voltes gallery in Olot presented a selection of his works to mark the centenary of his birth. He currently has two streets named after him, one in his native Olot and the other in the city of Girona.