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Watercolour painting of some military men signed C Howell - frame 40cm x 33cm

* BARBARA BALMER RSA RSW RGI (SCOTTISH 1929 - 2017), BASKET OF APPLES watercolour on paper, signed lower, titled label versoframed and under glassimage size 51cm x 43cm, overall size 47cm x 57cmHandwritten artist's label verso.Note: Barbara Balmer had a singular vision. Her pictures have a curious, if not surreal, edge. In her instantly recognisable style, she took the everyday and simplified it into shapes and patterns that she filled with subtle gradations of colour. Born in Birmingham, she moved to Scotland by way of a scholarship from Coventry School of Art that took her to Edinburgh College of Art (1949-1953). Her contemporaries are a roll call of familiar names of Scottish art: Elizabeth Blackadder, John Houston and Frances Walker to name a few. Balmer, however, eschewed the expressive brushwork and vibrant palette of the time and developed her own unique visual vocabulary. Throughout her long career, spanning more than five decades, she was twice selected to exhibit at the John Moores Exhibition in Liverpool, and had solo shows at the Richard Demarco Gallery and the Open Eye Gallery in Edinburgh, the Scottish Arts Council Touring Exhibitions and at the Fine Art Society in Edinburgh. Barbara taught at Gray’s School of Art in Aberdeen between 1970 and 1980 and held a retrospective exhibition at Aberdeen Art Gallery which travelled to Dundee, Lincoln and Coventry. Her work is included in many public and private collections including, The Royal Collection, The Scottish National Portrait Gallery (Portrait of Richard Demarco), The City Art Centre, Edinburgh, Leicester City Museum, Aberdeen and Stirling Universities, Aberdeen, Glasgow, Birmingham, Perth, Dundee and Lincoln Art Galleries. Seven of her paintings were used as dust jackets by Virago for the Modern Classics series and she was an elected member of the Royal Scottish Academy, the Royal Glasgow Institute and the Royal Scottish Society of Painters in Watercolour. In Barbara's obituary in The Herald, Richard Demarco wrote: "I hesitate to define her as an English, Scottish or indeed British artist. Her particular art must be viewed as belonging to the great and enduring tradition associated with the latest manifestations of European painting in this age of modern art".

* WILLIAM JOHNSTONE OBE (SCOTTISH 1897 - 1981), watercolour on paper, monogrammed mounted, framed and under glassimage size 37cm x 27cm, overall size 67cm x 57cmNote: 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.

* JENNY MATTHEWS RSW (SCOTTISH b. 1964), LOMBOK SHELL BASKET WITH BATIKS watercolour on paper, signed, titled label versomounted, framed and under glassimage size 60cm x 51cm, overall size 83cm x 75cm Handwritten label versoExhibition label verso: Mixed Exhibition January 1998, The Edinburgh Gallery.Note: Jenny Matthews was born in 1964 and grew up in Edinburgh, Scotland. She studied at Edinburgh College of Art under Elizabeth Blackadder, John Houston and Ann Oram, graduating in 1986 with a BA (Hons) in Drawing and Painting. Jenny has lived in France and Indonesia and is now based in Edinburgh with her husband and two children. Jenny has earned her reputation as an accomplished Scottish watercolourist and over the last 20 years her work has been exhibited extensively in the UK and abroad. She has also exhibited at the Royal Scottish Academy (RSA) and Royal Scottish Society of Painters in Watercolour (RSW). Jenny appeared in the Top 20 of the ‘Savvy Art Investors Guide, 20 Scottish Artists to Buy’, in The Scotsman October 2004 and was the main artist feature in ‘Homes and Interiors Scotland’ magazine Jan-Feb 2005. Her paintings are in the collections of Adam & Co plc, Brodies WS, Hewlett Packard, Ian Rankin and Miranda Harvey, Institute of Chartered Accountants of Scotland, Murrayfield Hospital, Paintings in Hospitals, Walter Scott & Partners, Freshfields Bruckhaus Deringer (London) as well as in private collections worldwide.

* MHAIRI MCGREGOR RSW (SCOTTISH b 1971) WHITE ROSES oil on board, signed, titled label versoframed and under glassimage size 24cm x 24cm, overall size 42cm x 42cm Note: MHAIRI PATRICIA McGREGOR RSW was born in 1971. She studied at Glasgow School of Art from 1989 - 1993, gaining a BA (Hons) in Fine Art. She has exhibited very widely in Scotland, in England and Australia. While at Art School she received a number of awards including one month working in Vetheuil, France, a Christie’s Bursary for 3rd-Year Studies, Glasgow School of Art Landscape Drawing Prize for a sketchbook done in the open and a John Kinross Scholarship - 3 months working in Florence, Italy. Following graduation, she spent six months painting in Australia. In 1996 she was interviewed by BBC Radio Scotland for The Usual Suspects programme. In 1997 she was short-listed as one of four for the Alastair Salvesen Scholarship and she was awarded the Under 25 Regional Winner of the Laing Art Competition. She spent a further four months painting in Australia. In 1998 she was short-listed, one of six for Gilchrist-Fisher Memorial Award. She took part in a Scottish Television interview for The Home Show programme. In 1999 she was short-listed, one of four for the Alastair Salvesen Scholarship. She was awarded the Ruth Davidson Memorial Award - 3 months working in the South of France. She was elected Member of the Royal Scottish Society of Painters in Watercolour. In 2000 she was awarded Glasgow Art Club Fellowship and spent two months painting in Australia. In 2001 she was awarded the Alexander Graham Munro Travel Award and the Paisley Art Institute Prize. In 2002 she spent two months painting in Arizona and New Mexico.

* PETER BOURNE RSW (SCOTTISH b. 1931), PAINTED GATE oil on board, signed, titled label versoframedimage size 77cm x 81cm, overall size 88cm x 92cmHandwritten label verso.Note: Painter in oil and watercolour, and teacher, born in Madras, India, who studied at Glasgow School of Art, 1949–54, with David Donaldson. Went on to combine teaching and painting, being a member of RSW and SSWA. “The Fauves, British colourists and Pop” were among influences on his work, which appeared in group shows in Glasgow and Edinburgh, where he also exhibited solo, also in groups in Kendal, Perth and Newcastle upon Tyne. Paintings in Hospitals, Abbot Hall Art Gallery in Kendal, Edinburgh’s city art collection and Mobil Oil have examples. Lived in Aberfeldy, Perthshire.

* ADRIAN WISZNIEWSKI RSA HonFRIAS HRSW (SCOTTISH b. 1958), HEIRESS watercolour and pen on paper, signed and dated 2006, titled label versomounted, framed and under glass image size 21cm x 14cm, overall size 39cm x 33cm Label verso: The Open Eye Gallery, EdinburghNote: Adrian Wiszniewski creates work characterised by a strong drawing element and fertile imagination. Populated with contemplative figures set in vividly coloured Arcadian landscapes, his paintings are rich with symbolic, political and philosophical depths. Adrian Wiszniewski (pronounced Vishnevski) was born in Glasgow in 1958 and studied architecture at The Mackintosh School of Architecture in Glasgow 1975–79; then trained at Glasgow School of Art, 1979–83. Wiszniewski is one of the leading members of the New Glasgow Boys responsible for the revival and resurgence of figurative painting under the tutelage of Sandy Moffat OBE; a group of artists that included Steven Campbell, Ken Currie and Peter Howson. His multiple awards include the Haldane Trust Award in 1982, the David Cargill Scholarship in 1983, the Mark Rothko Memorial Award in 1984, the I.C.C.F. Best Design Award New York in 1993 and the Lord Provost Gold Medal from City of Glasgow in 1999. His work can be found in many international public collections including The Gallery of Modern Art in New York, The Metropolitan Museum, New York, The Setagaya Museum, Tokyo, Japan, The Scottish National Gallery of Modern Art, Edinburgh, Tate Britain, London and The Victoria and Albert Museum, London. Wiszniewski has had numerous major solo exhibitions over many years including in London, Sydney, Edinburgh, Glasgow, Ghent and Tokyo.

* WILLIAM JOHNSTONE OBE (SCOTTISH 1897 - 1981), UNTITLED watercolour on paper, monogrammedmounted, framed and under glassimage size 76cm x 56cm, overall size 104cm x 84cmNote: 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.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SCUDDING WAVE mixed media on paper, signed, titled label versomounted, framed and under glassimage size 50cm x 62cm, overall size 71cm x 82cm Label verso: The Glasgow Art ClubNote: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The late Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

John Yardley (b. 1943) - A vintage 20th century watercolour on paper painting entitled 'Mobile Stalls', Signed by the artist to the bottom right with paper label to verso. Framed and glazed. Purchased from the Alexander Gallery. Measures approx. 56cm x 45cm.  John Yardley was born in 1933 in Yorkshire. For 40 years, he pursued a career in banking while painting in his spare time. It was not until 1986 that he took up painting full time, just after the Alexander Gallery in Bristol discovered his work and started selling it in considerable quantities. He found early inspiration from the works of Edward Seago and Edward Wesson, and under Wesson's mentorship developed his own unique style. John Yardley watercolour paintings for sale cover many subjects, including street scenes, buildings, landscapes, and seascapes. The artist frequently used people going about their daily activities as a focal point of his art. He prefers strong colours, especially burnt umber, French ultramarine, and raw sienna. In 1990, Yardley was elected a member of the Royal Institute of Painters in Water Colours.

John Paddy Carstairs (1916 - 1970), 'Le Mans - The Start of the Race', signed 'John Paddy Carstairs' (upper right), watercolour and gouache, 35 x 49 cm, framed and glazed 55.5 x 68.5 cm; with an associated birthday depicting the painting and inscribed in pen by the artist, 'Mike - as you see - your pic is now a b'day card - The enclosed is - I think - self explanatory - cheers! P.' and 'In the collection of Michael Carreras?!?'Michael Carreras (Executive Producer at Hammer Films) thence by descent. The artist's brother, Anthony Nelson Keys, was a producer at Hammer Films.

Louis Le Brocquy HRHA (1916-2012) Being (W1401), 1998 Watercolour, 61 x 46cm (24 x 18") Signed Provenance: With Taylor Galleries, Dublin, Label VersoFrom about the mid-1950s onwards, the individual human figure, conceived as a Presence, an isolated consciousness, has been at the heart of Louis le Brocquy’s work. In terms of the artistic tradition from which he emerged, that is unusual. All the more so given that, while previously he had made studies of individual figures (often children), he was more likely to paint compositions involving multiple figures. These works focussed intently on the relationships between people, be those relationships familial, amorous or socio-political. Then it is as if he began to zoom in on a single person in the group. He was perhaps prompted by a consideration of individuals who, more than is usual, experienced an enhanced sense of difference and isolation, just as he had earlier been drawn to Travellers as an outsider group in mainstream society.Around this time on a visit to Spain he was struck by the way the brilliant sunlight on whitewashed walls seemed to dissolve the human figure, making of it something ethereal, half-imagined. This idea, of the human presence conjured out of an amorphous ground of time and space, took firm root in his painting. Another significant factor was his developing relationship with the painter Anne Madden, coinciding with a period when she was immobilised by a back injury. It’s notable that he began to address the body as a fragile, living structure in his paintings. All of these things fed into the emergence of the head images that became a longterm preoccupation.Then, from the mid-1990s or so, there is a return to the body as presence in his work. This after a series of works centred on capturing the spirit of a succession of specific creative figures, usually writers, plus some artists and others. His inspiration lay partly in antiquity: the iconic Venue figures, perhaps goddesses, found in various archaeological sites in Europe, including the Laussel Venus, a limestone carving discovered in the Dordogne, which greatly impressed him. Rather than being individual portraits, as with the studies of writers, these works are free to deal with the more general notion of individual consciousness, in the form of the generative female being, embodied but also intangible and mysterious, extending through generations with a kind of immortality.Born in Dublin in 1916, le Brocquy is one of the pre-eminent Irish artists of the 20th century. A central figure in cultural life from the early 1940s, he is celebrated for his numerous, outstanding bodies of work in painting, the graphic arts and tapestry. His work features in numerous public and private collections, Irish and international.Aidan Dunne, February, 2024

Betty Swanwick (British, 1915-1989)Preparatory Sketch for The Parliament of the Yard signed and dated 'Betty Swanwick 85' (lower left)pencil on paper73 x 34.5cm (28 3/4 x 13 9/16in).together with a further preparatory sketch, The Parliament of the Yard Study for the Main Figure, by the same hand(2)Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 6 June-23 August 1987, no. 843London, Royal Academy of Arts, Summer Exhibition, 9 June-19 August 1990, no. 758London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 38London, Chris Beetles Gallery, Betty Swanwick: Artist and Visionary Launch, 25 November 2008 LiteratureB. Murphy, The Art of Betty Swanwick, Oxford Polytechnic, 1989, p. 2P. Rossmore, Betty Swanwick. Another World, The Artist, June 1990, p. 44 P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 93 and 128, no. D95b'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Study of the Artist's Cat Bewick signed, dedicated and inscribed with Artist's address 'Greetings from Betty Swanwick Caxton Cottage Frog Lane Tunbridge Wells Kent TN1 1YT' (to lower edge)pencil on paper12 x 17.5cm (4 3/4 x 6 7/8in).Executed in the 1980stogether with a further pencil on paper, study of the Artist's dog Louis Swanwick, by the same hand(2)Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 134, illustrated'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987 Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Preparatory Sketch for The Key of the Kingdom pencil on paper54.5 x 21cm (21 7/16 x 8 1/4in).together with two further preparatory sketches for The Fields of Ennor and So They Ran Both Together(3)Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 128, no. D96 (as the associated drawing Figure Study for 'The Key of the Kingdom')'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Preparatory Sketch for The Wilderness Regained pencil on paper27.5 x 35.5cm (10 13/16 x 14in).Executed circa 1974Footnotes:ProvenanceSale; Bonhams, London, 31 January 1990, lot 37 (as Sketch of a Woman with Serpents)Private Collection, U.K.LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, pp. 117-118, no. D57 (as the associated drawing Seated Figure in a Hat)In the Artist's sale record for the watercolour The Wilderness Regained, Betty Swanwick describes how the piece was 'inspired by the arbutus tree in the garden at Tidebrook.' (P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 117)'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Pandora signed and dated 'Betty Swanwick 78' (lower left); further signed, titled and inscribed with Artist's address 'BETTY SWANWICK/CAXTON COTTAGE, FROG LANE,/TUNBRIDGE WELLS KENT PANDORA' (to backboard)watercolour and pencil on paper62 x 51cm (24 7/16 x 20 1/16in).Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 19 May-12 August 1979, no. 140London, Royal Academy of Arts, Summer Exhibition, 9 June-19 August 1990, no. 755 (memorial display)London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 24LiteratureP. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 59 and 120, no. D70a'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)Feeding the Flocks watercolour and pencil on paper54.5 x 71.5cm (21 7/16 x 28 1/8in).Executed circa 1983Footnotes:ProvenanceThe Artist, from whom commissioned by the present owner, 1982Private Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 28 May-28 August 1983, no. 125London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 20 LiteratureRoyal Academy Summer Exhibition Illustrated, 1983, p. 68B. Murphy, The Art of Betty Swanwick, Oxford Polytechnic, 1989, p. 8P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 90 and 127, no. D91aIn the Artist's sales record book, Swanwick describes how the piece was 'based on drawings on visits to Hastings. Help on the boats given me by Maurice Wilson so generously he made little drawings of fishing boats amazingly accurately done by him from memory whilst having a cup of tea at Caxton College.' P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 127)'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Betty Swanwick (British, 1915-1989)The Black Shepherd signed and dated 'Betty Swanwick 87' (lower left)pencil on paper30 x 71cm (11 13/16 x 27 15/16in).Footnotes:ProvenanceThe Artist, from whom acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Royal Academy of Arts, Summer Exhibition, 14 May-17 August 1988, no. 819 London, Royal Academy of Arts, Betty Swanwick R.A. (1915-1989): A Narrative Process, 21 August-5 November 2001, no. 32London, Chris Beetles Gallery, Betty Swanwick: Artist and Visionary Launch, 25 November 2008 LiteratureB. Murphy, The Art of Betty Swanwick, Oxford Polytechnic, 1989, p. 3P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 129, no. D101cIn her sales record book, Betty Swanwick describes how the work was produced 'in honour of Louis Armstrong. The favourite musician of my parrot JOBO.' (P. Rossmore, Betty Swanwick: Artist and Visionary, Chris Beetles Gallery, London, 2008, p. 129)'I feel that many people narrow life much too much. In my pictures I try to put the real thing, the miracle of it – indefinable because everything is connected' – Betty Swanwick, 1987Betty Swanwick's long and varied career encompassed writing novelettes, painting, illustration and design. A true visionary, Swanwick's works are influenced by her own dreams and are highly spiritual. Described by Chris Beetles as a 'watercolourist of mystical symbolism enriched with a strange beauty', Swanwick's pieces use symbolism to convey an understanding of the complexity of life. This type of narrative, visionary work occurred late in the artist's career. Swanwick initially studied at Goldsmiths College of Art, and her first commissions were primarily for murals. Her mural work, such as the piece commissioned for the Rocket restaurant during the Festival of Britain in 1951, contain a sense of joy and fun that would go on to underpin Swanwick's practice for the following decades. The artist herself, however, considered her later narrative pieces to be her best work. These pieces, such as Feeding the Flocks (lot 123) and Pandora (lot 120), were executed after Swanwick's resignation from her teaching post at Goldsmith's, which was prompted by the formalisation of arts education, a change that resulted in what Swanwick described as a 'cultural narrowness'. This refusal to bow to convention is evident throughout Swanwick's career, which consistently valued eccentricity and originality over conformity.The English pastoral landscapes that recur both in Swanwick's early work and later narrative pieces often act as the setting for myths or Biblical scenes. Pandora (lot 120), a watercolour where the Greek myth is re-imagined in a field of beehives, is a typical example of this. As a result of her use of the English pastoral, many critics have drawn a link between the artist and Stanley Spencer, whose own paintings and drawings, such as the Marriage at Cana series (lots 30 – 33), also placed Biblical events in a contemporary English context. Swanwick repeatedly refuted this link, instead listing Samuel Palmer and William Blake as her key influences. The beautifully rendered detail in Swanwick's landscapes apparent in The Black Shepherd (lot 124) and Preparatory Sketch for Wilderness Regained (lot 125), are reminiscent of Palmer's meticulous draughtsmanship. By placing herself within the context of Palmer and Blake, Swanwick was referring to, in her own words, 'a small tradition of English painting that is a bit eccentric, a little odd and a little visionary'. The following collection of works, amassed over several decades, provide a unique insight into this eccentric, odd and visionary work, that conveys life in all its complexity. 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

Reginald William 'Reg' Gammon (1894-1997)'Field workers in Brittany', watercolour, signed and dated 1968 lower right, 19cm x 25cm Note: The finished oil painting was purchased by the Royal West fo England Academy for their permanent collection. Overall display wear and some scuffs to the frame, otherwise seems ok.

Reginald William 'Reg' Gammon (1894-1997)'Connemara', watercolour, signed and dated 1965 lower left, 19.5cm x 24.5cm The picture has slipped slightly from the mount. Overall display wear and some scuffs to the frame. Some foxing to mostly the mount and a small amount to the painting itself.

TWO CHINESE PAINTINGS (2)20th century Ink and watercolour on cloth, one painted with two sages seated amongst rocks, the other with birds in branches, signed and with red seals, 98cm by 18.5cm, mounted, framed and glazedEach painting with some holes, markings and discolouration to the cloth

A gilt framed and glazed still life watercolour painting, COLLECT ONLY.

Albrecht De Vriendt (1843-1900): Othello and Desdemona, watercolour in paper, dated 1881Work: ca. 29,5 x 22 cm Frame: ca. 40 x 32 cm Please note that this watercolour is most probably the preparatory watercolour for the final painting, which is offered as lot 253 in this auction. Othello or 'The Tragedy of Othello, the Moor of Venice' is a tragedy written by William Shakespeare, around 1603. The story revolves around two characters, Othello and Iago. Othello is a Moorish military commander who was serving as a general of the Venetian army in defence of Cyprus against invasion by Ottoman Turks. He had recently married Desdemona, a beautiful and wealthy Venetian lady younger than himself, without the knowledge of and despite the later objection of her father. Iago is Othello's malevolent ensign, who maliciously stokes his master's jealousy until the usually stoic Moor kills his beloved wife in a fit of blind rage. Due to its enduring themes of passion, jealousy, and race, Othello is still topical and popular and is widely performed, with numerous adaptations (link). The Belgian painter Albrecht Francois Lieven De Vriendt (Ghent, December 8, 1843 - Antwerp, October 14, 1900) was the son of decorative painter Jan Bernard (Jean) de Vriendt (1809-1868), who passed on his interest in Flemish art and language to his sons, Juliaan and Albrecht. After receiving initial training from him, the brothers moved to Antwerp, where they came under the influence of Hendrik Leys. The brothers would make several trips together. In 1869 they visited Germany, in 1880 Italy. That same year they also went to Egypt and Palestine. After the death of Karel Verlat, De Vriendt was appointed director of the Royal Academy of Fine Arts of Antwerp in 1891. When he died in 1900, it was his brother who took over this position. One of the painter's masterpieces is his decoration of the Gothic hall in the town hall of Bruges, a work completed by his brother and his son Samuel De Vriendt. The artist was a member of various academies and societies. He also received several honors. Since 1894, he has been commander of the Order of Leopold, grand officer of the Order of Isabella and commander of the Order of Merit of Saint Michael. His students included Pieter Franciscus Dierckx, Georges Lemmers, Frans Mortelmans, Isidore Opsomer and Emile Rommelaere (link).

David Trundley original signed horseracing watercolour painting, depicting Lester Piggott. Pencil draft sketches to reverse. W51x L69 cm

Anne Redpath OBE RSA ARA LLD ARWS ROI RBA (1895-1965). Flowers and Fruit. Watercolour. Signed, 42.5cm x 61cm. To verso old label for Aitken & Dott The Scottish Gallery, 26 Castle St Edinburgh, no 0205, and old label for Arts Council Scottish Committee, Titled Six Scottish Painters, Nottingham University 1959. No visible condition issues to painting. Damage to top left corner of the frame with chipping to glass. 

Electric Light Orchestra / ELO Part II Signatures plus, a collection of ELO, ELO Part II and The Orchestra items comprising The Orchestra Signed Photo, Polystyrene Banner and Programme, ELO Part II - Two Signed display cards for 'Moment Of Truth' and a signed Programme, eighteen promo photos for ELO II, four German 'Face The Music' fanzines, Kelly Grouchett's pass for Classic Superstars Live, two other passes. plus a signed Steve Gibbons Flyer, five fully signed Rockin Berries promo photos and an Eric Clapton watercolour painting - all in very good condition

Saadi Al Kabbi  (Iraq) Watercolour mixed media painting  titled 'Mythologys'Signed with script to verso. 

Desmond Nicholas (British school) - a collection of three 20th century naval maritime watercolour paintings depicting Second World War scenes. The paintings comprising one unsigned painting depicting a boat at stormy seas, and two small watercolours each depicting British Navy ships, one with label to verso reading HMS Matabelle Tribal Class Destroyer 1940, the other reading the same and seen here flying the Narvik Flag 13 April 1940. and signed lower right hand side. All framed & glazed. Largest painting measures approx. 29cm x 19cm, 44cm x 34cm to include frame.

E. L. Herring (British school, 19th century) - A 19th century circa 1887 watercolour on paper painting. The painting depicting a riverside scene with mountains in the background. Signed & dated to bottom left. Framed & glazed. Measures approx. 57cm x 40cm, 80cm x 62cm to include frame. 

A WATERCOLOUR PAINTING ON PAPER 'SNOWSCAPE' DATED 1974Signed indistinctly. 37cm x 24cm

A PENCIL AND WATERCOLOUR PAINTING ON PAPER DEPICTING FLOWERS, 38cm x 28cm Oval mount, in a gilded frame and glazed.

MARY FEDDEN RA (1915-2012) A WATERCOLOUR ON PAPER PAINTING DEPICTING FLOWERS IN A MUG, 11.5cm x 11.5cm Mounted in a frame and glazed (frame 18.5cm x 18.5cm)

AN UNUSUAL PENCIL DRAWING AND WATERCOLOUR PAINTING ON PAPER OF A NUDE WITH FLOWERS, 64cm x 48cm

HENRY GEORGE GAWTHORN (BRITISH 1879-1941) A WATERCOLOUR AND PIGMENT PAINTING ON BOARD ENTITLED 'ARAB' 61cm x 45cm Signed bottom right and to verso.

ROBERT GRAHAM DRYDEN ALEXANDER (1875-1945) A LARGE COLLECTION OF EIGHTEEN PENCIL AND WATERCOLOUR PAINTINGS ON PAPER, Depicting various scenes, from beaches with figures to horses and landscapes. Each painting measures around 31cm x 25cm Along with two exhibition catalogues at the Parkin Gallery, London 'Robert Alexander, An Exhibition of Watercolours 1981'. And 'A Summer Exhibition of local watercolours' at The Yacht Club, Walton-on-the-Naze, 1995. With three labelled mounts for framing, and all housed in a large package labelled 'mostly Robert Alexander'.

GUIDO BACH (GERMAN 1828-1905): A WATERCOLOUR ON PAPER PAINTING DEPICTING FIGURES OVERLOOKING THE SEA, 14cm x 8cm Mounted in a frame and glazed.

THOMAS SIDNEY (BRITISH) A WATERCOLOUR ON PAPER PAINTING LAID ON BOARD, TITLED 'MILL AT BOSHAM', 70cm x 25cm With mount and glazing, no frame.

HERBERT DALZIEL RA (1853-1941) AN OIL ON CANVAS PAINTING OF A WINTRY LANDSCAPE WITH HOUSES AND CHIMNEYS BEHIND TREES. Provenance: Sothebys Belgravia. 90cm x 69cm Mounted in a large wooden frame.Herbert Dalziel was a painter. Son of Thomas Bolton Gilchrist Dalziel (1823-1906) who was the brother of George Dalziel (1822-69), the brothers who formed the wood-engraving firm the Brothers Dalziel, initially set up by George in 1839. Herbert's brother Owen was also a painter.Herbert Dalziel, who specialised in flower, figure and landscape painting, became a mebemr of the New English Art Club in 1887, the year before Whistler exhibited with the group. He was active in exhibiting between 1881 and 1902 and showed at the Royal Society of British Artists, a society which had elected Whistler its President in June 1886. He also exhibited at the Royal Academy, Grosvenor Gallery, New Gallery, Dudley Art Gallery, Royal Institute of Painters in Watercolour and Royal Institute of Oil Painters in London a well as the Royal Hibernian Society in Edinburgh, Royal Society of Artists in Birmingham, Walker Art Gallery in Liverpool and Manchester City Art Gallery.

RENOS LOIZOU (CYPRIOT 1948-2013) A WATERCOLOUR AND OIL ON HANDMADE PAPER LAID ON BOARD ABSTRACT PAINTING TITLED 'THE MONASTERY MOUNTAINS',Signed bottom right. Dated 1996. 32cm x 28cm Mounted in a frame and glazed.

A LARGE WATERCOLOUR ON PAPER PAINTING OF A LANDSCAPE SCENE ALONG WITH A CHINESE SILK PANEL OF A SIMILAR SIZE (2), 76cm x 38cm

A WATERCOLOUR ON PAPER PAINTING OF A LANDSCAPE,Mounted in a frame and glazed. 32.5cm x 24.5cm

A WATERCOLOUR ON PAPER PAINTING OF A PLANT ON A TABLE WITH A BUTTERFLY, 28cm x 23cm Mounted in a frame and glazed.

RENOS LOIZOU (CYPRIOT 1948-2013) A WATERCOLOUR AND BODY COLOUR PAINTING OF A FROG CLINGING TO A BRANCH, 38cm x 20cm Mounted in a frame and glazed.

A COLLECTION OF FIVE WATERCOLOUR PAINTINGS ON PAPER, To include three architectural plans (pencil and watercolour), one detailed scene of a lady and girl on a path with a village in the background, and an abstract painting of boats in the harbour. Largest 56cm x 42cm

A WATERCOLOUR ON PAPER PAINTING OF A LADY SITTING IN A CHAIR BESIDES A CHINESE VASE, HAVING JUST READ A LETTER, The envelope is on the floor besides a colourful shawl. In the background is a tapestry. 37cm x 31.5cm Signed 'OPG'

ROBERT GRAHAM DRYDEN ALEXANDER (1875-1945) A PENCIL AND WATERCOLOUR PAINTING ON PAPER DEPICTING FIGURES AT THE BEACH, 27cm x 21cm Mounted in a frame and glazed.

ALFRED HEATON-COOPER (1864-1929) MORNING IN EARLY SPRING, AMBLESIDE, LARCHES AND PINES, a landscape with trees and sheep, signed and dated 1927 bottom right, watercolour on paper, approximate size 54cm x 37cm, Condition Report: small patches of missing paint to the middle of the painting - the paper doesn't appear to be scuffed, age related discolouration to the paper, frame marked in places

PAINTINGS AND PRINTS ETC, to include an oil on board copy of Ronald Copping painting of St Pauls Cathedral from 1969, signed Walker bottom right, approximate size 60cm x 45cm, a framed print of Elephants in the style of Henri Gaudier-Brzeska, an oil on board portrait of a female figure wearing a hat signed K Oakley 1987, an indistinctly signed 19th century watercolour of Flag Iris, Kolade Oshinowo prints presented by Lagos Sheraton Hotel etc

CAROLE VINCENT (BRITISH 1939-2019) 'RAZ FORT & ESSEX CASTLE, ALDERNEY', a Channel Islands landscape, signed and dated 1988 verso, with inscription to 'Roger', watercolour on paper, approximate size 30cm x 68cm, Condition Report: painting is in good condition, aluminium frame marked in places

'Jonny J.' (20th Century), mixed media, A still life arrangement depicting pink roses within a vase against a green backdrop, signed to the lower right, framed, mounted, and under glass, measuring 38cm x 58cm, & 55cm x 75cm overall, together with another still life painting, a watercolour signed M.J. Wakefield (20th Century), depicting red lillies (2)

Original vintage railway carriage travel poster featuring a scenic view of the medieval stone arch bridge over the River Calder with the historic 14th century bridge chapel in front of the cathedral city of Wakefield entitled Wakefield Chantry Yorkshire. This train carriage poster features a watercolour painting by the British artist William Sidney Causer (1876-1958). Horizontal. Very good condition, small mark at the top. Country of issue: UK , designer: Sidney Causer, size (cm): 25.5x51.5, year of printing: 1947.

Mappe mit 7 Blättern mit dem Spanische Hofreitschule und Lipizzaner, verschiedenen Maltechniken, darunter Lithographien, Mischtechniken, Tusche, Aquarell und kolorierte Zeichnungen, und , manche Davon signiert, mit signierten Deckblatt "Die weißen Hengste Wiens" von Franz Bueb, Maße circa 40 x 55 cm | Portfolio with 7 sheets with the Spanish Riding School and Lipizzaner, various painting techniques, including lithographs, mixed media, ink, watercolour and coloured drawings, dimensions approx. 40 x 55 cm and, some of them signed, with signed cover sheet "Die weißen Hengste Wiens" by Franz Bueb

Collection of eight original sketches (mostly on thick card stock) by auto magazine illustrator George Lane C1940's to include a gouache painting of a fire engine at speed (19cmx24cm), pen and watercolour 'Tax on track and wheelbase,' (24.6x17.7cm), "Tax engineering on wheelbase and track' (31.5cmx22.5cm), Tax On Tyres (27.5x15.7cm) and "Relief For Export Types" Anti Shark Bite Susie (26.1x13.9cm), pen and ink "British army of occupation in Donnington" (18.8x13.9cm) and 2 smaller comic sketches (both 12.8x11.9cm)

Seven original colour and monotone auto related sketches to include Ink and watercolour painting of a prototype camper van (55cm x 33cm), watercolour of a motorway scene featuring Hillman imp, Vauxhall Victor, Austin 1300 etc with artists notes and suggestions for the Autocar magazine (unknown artist, 58cm x 40cm), Pen and ink drawing illustrating the changing of the car body styles, with artists notes, published in the Autocar Magazine 21/10/55 (mid 1950's, unknown artist, 49cm x 27cm), gouache on paper painting of two princess Vanden Plas grills for showroom brochure, C1950-1965 (unknown artist, 46cmx34cm) and 2 ink and watercolour 'Educational' drawings by Gordon Homer (50cm x 40cm and 28cm x25cm).

Original pen and ink drawing of a Gozzy Replica of SSK Mercedes with four doors, dated 1960 by Peter Baker (39cmx27cm) and 3 original unfinished ink/watercolour pictures by auto artist Alan Crisp to include Ferrari 250 GTO (signed by the artist, frame size 63cmx49), Rolls Royce 'Twenty' (unsigned, 38cm x 26cm) and a painting of a family driving an open topped period car (dated 1945, unsigned, 27cm x 33 cm). (4)

Takashi Nakayama (Japanese, 1893 - 1978)Two solitary studies of workers carrying woven baskets on their backs and bamboo rakes rested on their shoulders, watercolour, signed, uniformly framed in pen-lined card mounts and ebonised frames under glass, 27 cm x 37 cm overall, (one frame lacking glass)[Nakayana was known for his distinctive watercolours, his work combined influences from traditional Japanese printing techniques with Western painting techniques.]

A Mughal style picture of a Zebra, some watercolour possibly on a printed base; presumably intended to emulate Mansur's painting of Equus Quagga Burchelli, the Zebra which was presented to The Emperor Jahangir by Mir Jafar [see V&A. IM.23-1925]; framed and glazed with overall dimensions of 40x30 cm

George Cruikshank (British, 1792-1878)The Fairy Ring signed, dated and indistinctly inscribed 'GEORGE CRUIKSHANK.1855.--' (on leaf centre right)oil on canvas 74.5 x 96.7cm (29 5/16 x 38 1/16in).Footnotes:ProvenanceWith International Galleries, The Strand. Private collection, UK. Purchased from the above by the uncle of the current owner in June 1945, and thence by descent.ExhibitedLondon, British Institution, 1856, no. 458.George Cruikshank was born in London as son of Isaac Cruikshank one of the leading caricaturists of the late 1790s. George first worked under his father's tutelage as his apprentice and assistant and his early career would be defined by socio-political caricatures. On the death of James Gilray in 1815, Cruikshank became England's most popular satirist and for the next decade he irreverently caricatured the political policies of the Tories and the Whigs and found ample inspiration in the royal family. Indeed, it is reported that in June 1820, King George IV, having lost patience with the artist, paid him £100 'not to caricature His Majesty in any immoral situation.'In the early 1820s Cruikshank began to work on illustrations and it is estimated that he worked on more than 850 books. He is famed for working closely with his friend Charles Dickens, however in the context of the current lot, his most significant commission was for the first English translation (by Edgar Taylor and David Jardine) of Grimms' Fairy Tales, published in 1823 as German Popular Stories. In illustrating these stories Cruikshank would have been exposed to a fantastical world from which it is easy to imagine the subject of a fairy ring being born. It is also interesting to note that in 1846 John Murray published a group of stories titled The Fairy Ring, by the Grimm Bothers, translated by John Edward Taylor and illustrated by Richard Doyle. The work was republished in 1857, just a year after Cruikshank's The Fairy Ring was exhibited at the British Institution. A preparatory watercolour and two preparatory sketches for the exhibit can be found in the collection of the British Museum and it is easy to imagine these being inspired by the 1846 edition or perhaps to be potential illustrations for the 1857 reprint. The Fairy Ring fits into the uniquely British tradition of fairy painting which began in the late eighteenth century with artists such as William Blake and Henry Fuseli and was continued into Cruikshank's era by the likes of John Anster Fitzgerald, and Sir Joseph Noel Paton. Cruikshank presents his countless fairies hand in hand, dancing in rings around a crowned fairy seated on a central toadstool. More fairies are arriving on the backs of giant bats which are silhouetted against a partially veiled crescent moon which gently lights the scene. The sense of the occult is palpable and unsurprisingly there is a wealth of folklore relating to fairy rings, their origins, significance and portents. The naturally occurring circles, known as fairy rings, seen in grass and woodland areas and caused by the presence of fungi are in English and Celtic traditions attributed the dancing of elves or fairies. Other superstition suggests more sinister origins for the circles, including witches, the imprint of the devil's milk churn and the tails of fiery dragons. Intruding upon a fairy ring is also seen by many as dangerous and is associated with bad luck. The mystery and intrigue of fairy rings is reflected in their countless appearances in literature, sparking the imagination of, amongst others, William Shakespeare, Thomas Hardy, Alfred, Lord Tennyson, Elizabeth Barrett Browning and William Butler Yeats.For further information on this lot please visit Bonhams.com

• MAURICE COCKRILL (BRITISH 1936-2013) Maurice Cockrill (lots 183-187) IntroductionPainted in 1984-85, the following five lots by Cockrill relate to the artist's first years in London when he was exploring legendary female figures in his work, including Ophelia, Judith, Medea and Venus. Lots 183, 185 and 186 are preparatory sketches for the resultant sequence of large-scale paintings on this theme. The works directly engage with the masters of the European tradition and appeared at a time - some forty years ago - when there was a wide revival of interest in expressive figurative painting that championed allegorical, historical and mythological subject matter. Cockrill's series followed his move south from Liverpool where he had taught for the previous eighteeen years. For the first half of his life - until the early 1980s - Cockrill had largely confined himself to the north. Born in Hartlepool, County Durham, and raised in Wales and the Midlands, his time studying at Wrexham School of Art and then in Liverpool had been broken only by three years at Reading University (1961-64). In the early 1970s he was working in a photo-realist style, but by the end of decade his work was becoming more loaded, more expressive. It was to test this nascent expressionism in a more demanding art world that he embarked on the move to London in 1982.Cockrill first took over Bridget Riley's old studio in Clerkenwell where Paula Rego was a neighbour and soon became a friend. The first work he produced in London continued in the vein he had begun, increasingly visceral and disturbing, but now with just the slightest hint of Rego's influence (lot 184). In 1984 Edward Totah gave him a one-man show, then from 1986-96 he was represented by Bernard Jacobson, under whose aegis Cockrill's style mellowed and his ideas proliferated. Natural imagery and the themes of growth and decay came to the forefront of his work. In 1995 he was the subject of a retrospective at the Walker Art Gallery, Liverpool, and in 1998 the last ten years of his work was shown at the Royal West of England Academy, Bristol. The following year he was elected an RA, and in 2004 he was voted in as keeper of the Royal Academy Schools. 183 MAURICE COCKRILL (BRITISH 1936-2013)OPHELIAsigned with initials and dated 84 lower right; titled Ophelia lower leftwatercolour38 x 28cm; 15 x 11in64.5 x 54cm; 25 1/2 x 21 1/4in (framed)