We found 11513 price guide item(s) matching your search

Brian Irving (1931-2013) - A 20th century watercolour painting of a Swale Dale ewe with its lamb, signed lower left. Measures 35cm x 32cm

Aubrey R Phillips (Born 1920) - Entitled Sandwood Bay, Sutherland - A 20th century watercolour on board painting to depict a coastal scene with two figures walking along a shoreline, approaching a cliffside. Signed by the artist. Dated 1991. Framed and glazed. Measures 73cm x 90cm. 

Leonard C Alford - A 20th century watercolour painting of a coastal scene  with ships in the background. Framed and glazed. Artists signature to the corner. Measures 53cm x 65cm. 

William Evans Linton - A 20th century watercolour painting of a coastal scene. Signed by the artist to the corner. Framed and glazed. Measures 42cm x 45cm. 

FIVE BOXES OF BOOKS, approximately one hundred and fifty titles to include military history, general history, gardening, biography, watercolour painting, Heron Books Dennis Wheatley collection (16 volumes), and reference (Condition report: books appear in generally good condition, sd) (5 BOXES)

ARTIST: John Dobby Walker (United Kingdom, 1863 - 1925)NAME: LandscapeMEDIUM: watercolor on paperCONDITION: Excellent. Framed under glass.SIGHT SIZE: 5 1/2 x 7 1/2 inches / 14 x 19 cmFRAME SIZE: 12 x 14 inches / 30 x 35 cmSIGNATURE: Lower leftCATEGORY: antique vintage paintingSKU#: 115827US Shipping $42 + insurance.AD: ART CONSIGNMENTS WANTED. CONTACT USJohn Dobby Walker (United Kingdom, 1863 - 1925)John Dobby Walker (1863-1925) was a painter born in Bradford who started his working career as a coach trimmer and painter at Sheethams, a local coach building firm. His first piece of art work was painting a crest on a carriage. He studied painting at the Bradford Church Institute and, following a spell as an art teacher, devoted his time to painting, mainly landscape views.In addition to his work in England and Scotland, he visited Holland, Spain, Italy, painting scenes from his travels, and he exhibited at the Royal Academy, Royal Institute of Painters in Watercolour and at the Walker Art Gallery, Liverpool. The Dowager Empress of Russia bought two of his paintings from a Royal Academy show. The Bradford Museums and Galleries collection also acquired his work at one time, and it can be found in the collection of Richmond Town Hall, North Yorkshire.In 2001 the Harrogate art dealer, Paul McTague, held an exhibition of over 100 of John Walker’s watercolours. McTague told the local newspaper that despite his extensive European travels, the artist was вЂvery much inspired by Yorkshire – particularly scenes around Bradford’.

ARTIST: Christine Macarthur (Scotland, British, born 1953)NAME: Cockerel and ParrotYEAR: 1991MEDIUM: oil and pastel on paperCONDITION: Very good. Framed under glass.SIGHT SIZE: 36 x 29 inches / 91 x 73 cmFRAME SIZE: 43 x 36 inches / 109 x 91 cmSIGNATURE: lower rightPROVENANCE: Sue Rankin Gallery, London UK (has gallery label on verso)CATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120795US Shipping $149 + insurance.BIOGRAPHY:Christine McArthur was born in Kirkintilloch, near Glasgow in 1953 and studied at The Glasgow School of Art between 1971 and 1976, which included a post-diploma year. After graduating she taught and produced book illustrations until the demand for her work enabled her to paint full time. Her early work was primarily in oil and she became well known for her large scale still life paintings on canvas. In the late 1980s she began to work in oil pastel and watercolour but more recently she has reverted to oil, as well as acrylic and collage.Christine McArthur was awarded Scottish Education Department travelling scholarships in 1975 and 1976 and was elected a member of the Royal Glasgow Institute of the Fine Arts in 1990. In 1995 she was elected a member of the Royal Scottish Society of Painters in Watercolour. In 1997 John Lewis commissioned four large murals each 6ft x 15ft - for the Glasgow store in 1999. In 2002 she received a commission from John Lewis for murals for the extension to their Peter Jones store, Sloane Square, London. In 2009 she resigned from the RGI and the RSW.Christine last exhibition at The Scottish Gallery took place in April 2021 called Notes to Self.

ARTIST: Anthonij Rudolf Mauve (Netherlands, 1838 - 1888)NAME: Beach Scene with Fishing BoatMEDIUM: oil on boardCONDITION: Very good. No visible inpaint under UV light.SIGHT SIZE: 7 x 8 inches / 17 x 20 cmFRAME SIZE: unframed (In-House framing available)SIGNATURE: lower leftCATEGORY: antique vintage paintingAD: ART CONSIGNMENTS WANTED. CONTACT USSKU#: 120882US Shipping $29 + insurance.BIOGRAPHY:Anthonij (Anton) Rudolf Mauve was a Dutch realist painter who was a leading member of the Hague School. He signed his paintings 'A. Mauve' or with a monogrammed 'A.M.'. He was a very significant early influence on his cousin-in-law Vincent van Gogh.Most of Mauve's work depicts people and animals in outdoor settings. In his Morning Ride in the Rijksmuseum, for example, fashionable equestrians at the seacoast are seen riding away from the viewer. An unconventional detail, horse droppings in the foreground, attests his commitment to realism. His best known paintings depict peasants working in the fields and especially sheep herding scenes. His paintings of flocks of sheep were especially popular with American patrons.Anton Mauve was born on 18 September 1838 in Zaandam, a town in the Dutch province of North Holland. A year after his birth his father, a Mennonite chaplain, was sent to Haarlem, the capital city of the province, where Mauve grew up.He was apprenticed to the painter Pieter Frederik van Os followed by Wouter Verschuur. In his further development, he worked with Paul Gabriel, painting from nature, and they regularly stayed and worked together at Oosterbeek, a village in the Dutch province of Gelderland.In 1872 Mauve settled in The Hague where he became a leading member of the Hague School of painters inspired by the French Barbizon School in turn by the work of John Constable.In the last two years of his life Mauve settled in the village of Laren in the region surrounding Hilversum called het Gooi. The group of painters who settled there, including Jozef Israels and Albert Neuhuys, came to be known collectively as the Larense School and the region around het Gooi was dubbed 'Mauve land' as far afield as the United States.Mauve died suddenly in Arnhem on 5 February 1888.Mauve was married to Vincent Van Gogh's cousin Ariette (Jet) Sophia Jeannette Carbentus and was a major influence on Van Gogh. He is mentioned directly in 152 of Vincent's surviving letters.Vincent spent three weeks at Mauve's studio at the end of 1881, and during that time he made his first experiments in painting under Mauve's tutelage, first in oils and then early the next year in watercolour (previously he had concentrated on drawing). Mauve continued to encourage him and lent him money to rent and furnish a studio but later grew cold towards him and did not return a number of letters.

A Chinese watercolour scroll painting, depicting a ship within woodland landscape, with certificate for Zhao Yong from the Tang Dynasty Art Museum, in original box; together with three others (4)

CHINESE REPUBLIC PERIOD WATERCOLOUR PAINTING ON SILK,depicting a farm worker or porter bearing a yoke, framed, 55cm x 36cm overall

Andreu Gamboa-Rothvoss (Sabadell, 1910 - Barcelona, 1970)"Mujer de pie" (Standing woman)Watercolour, oil and pencil on paper. Signed and dated 1928. 20,5 x 12,3 cm. According to the "Diccionario de las Vanguardias en España (1907 – 1936)" (Dictionary of the Avant-Gardistes of Spain) (1995), by Juan Manuel Bonet, Andrés Gamboa-Rothvoss, pseudonym of Andrés Gamboa González-Rothwoss, was a painter, illustrator and caricaturist, born in Sabadell and a disciple of Joan Vila Cinca. He studied in Paris with André Lhote and is remembered for participating in the "Exposicion Logicofobista" in Barcelona. He was quoted in "Profil de sombras" (1994) by Juan Ramón Masoliver. In 2017, the Museu d'Art de Sabadell held an important exhibition dedicated to the painter, "Logicofobistes 1936. El surrealisme com a revolució de l'esperit. Andreu Gamboa-Rothvoss, recuperant un logicofobista de Sabadell" (Logicophobists 1936. Surrealism with a revolution of the spirit. Andreu Gamboa-Rothvoss, reviving a logicophobist from Sabadell", from February 16 to 23 April 2017. The curator of the exhibition, the art critic Josep Miquel Garcia, states in an article for the exhibition that Gamboa-Rothvoss is, “the most unprecedented and enigmatic figure of all the logicophobists”.The painter, as we said, continued his training in Paris, where today, as Garcia tells us, his life drawings are kept at the Académie Grande Chaumière. His stay in the French capital, which lasted until at least 1934, greatly influenced him. In fact, it could be that this “Standing woman”, dated 1928, was created in France. We can clearly see the influence of the modernity of Paris in the 1920s and its avant-gardistes, as well as Picasso's blue period in the work that we present here.Continuing with his biography, according to Garcia, once he arrived in Barcelona, he embraced the activities of the group “Amics de l'Art Nou (ADLAN)”, a Catalan artistic movement founded in Barcelona in 1932 by Carles Sindreu, Joan Prats and Josep Lluís Sert in order to champion avant-garde art. In Barcelona he held the only known art exhibition at Syra galleries in 1933. To announce it, La Vanguardia published the following on January 6, 1933: "The artist Gamboa Rothvoss, a long-term resident in Paris, will open an exhibition of paintings at Syra Galleries tomorrow," as Josep Playà indicates in the article "Another surrealist painter rediscovered” (2017).Until his return to Barcelona, "his painting followed post-impressionist guidelines, with works marked by a linear structuring of figures, but as he entered more deeply into surrealism he created dreamlike images with collage, well-drawn, outlined figures, and always with gestural backgrounds,” Josep Miquel Garcia explains.Later, in 1958, he moved to Ibiza alone after separating from his former wife, Núria Garreta Socias, with whom he had two children. There, in the “fishermen's quarter”, Garcia tells us that he “actively participated in the cultural life of the island” and developed a style that, without being abstract, accentuates expressiveness and outline. Finally, he moved to Majorca until 1969, when he had to return to Barcelona to be admitted to the Hospital Clínic, where he died in 1970.Having reviewed the biography of Gamboa-Rothvoss, we can conclude that our Standing woman is from the stage when his artistic personality was forming, from a moment of transition in which the seed of the surrealist Rothvoss had been planted and would end up being developed in his Barcelona stage and even in the most abstract and solitary work from the Balearic Islands. Bibliographic references:- Bonet, J. M. (1995). “Diccionario de las Vanguardias en España (1907-1936)”. Page 267. Alianza Editorial.- Enciclopèdia.cat. (s. f.). “Amics de l’Art Nou”. Collected on 19th May 2022, from https://www.enciclopedia.cat/gran-enciclopedia-catalana/amics-de-lart-nou- Garcia, J. M. (2017). “Andreu Gamboa Rothvoss. Recuperant un logicofobista de Sabadell”. Arraona. No. 36, pp. 192-195.- Playà, J. (19th February 2017). “Otro pintor surrealista redescubierto”. La Vanguardia. Https://www.lavanguardia.com/cultura/20170219/42144105526/otro-pintor-surrealista-redescubierto.html

Andreu Gamboa-Rothvoss (Sabadell, 1910 - Barcelona, 1970)"Mujer azul" (Blue woman)Watercolour and ink on paper. Signed and dated 1928. 24,5 x 12,7 cm.According to the "Diccionario de las Vanguardias en España (1907 – 1936)" (Dictionary of the Avant-Gardistes of Spain) (1995), by Juan Manuel Bonet, Andrés Gamboa-Rothvoss, pseudonym of Andrés Gamboa González-Rothvoss, was a painter, illustrator and caricaturist, born in Sabadell and a disciple of Joan Vila Cinca. He studied in Paris with André Lhote and is remembered for participating in the "Exposicion Logicofobista" in Barcelona. He was quoted in "Profil de sombras" (1994) by Juan Ramón Masoliver. In 2017, the Museu d'Art de Sabadell held an important exhibition dedicated to the painter, "Logicofobistes 1936. El surrealisme com a revolució de l'esperit. Andreu Gamboa-Rothvoss, recuperant un logicofobista de Sabadell" (Logicophobists 1936. Surrealism with a revolution of the spirit. Andreu Gamboa-Rothvoss, reviving a logicophobist from Sabadell", from February 16 to 23 April 2017. The curator of the exhibition, the art critic Josep Miquel Garcia, states in an article for the exhibition that Gamboa-Rothvoss is, “the most unprecedented and enigmatic figure of all the logicophobists.”The painter, as we said, continued his training in Paris, where today, as Garcia tells us, his life drawings are kept at the Académie Grande Chaumière. His stay in the French capital, which lasted until at least 1934, greatly influenced him. In fact, it could be that this “Blue woman”, dated 1928, was created in France. We can clearly see the influence of the modernity of Paris in the 1920s and its avant-gardistes, as well as Picasso's blue period in the work that we present.Continuing with his biography, according to Garcia, once he arrived in Barcelona, he embraced the activities of the group “Amics de l'Art Nou (ADLAN)”, a Catalan artistic movement founded in Barcelona in 1932 by Carles Sindreu, Joan Prats and Josep Lluís Sert in order to champion avant-garde art. In Barcelona he held the only known art exhibition at Syra galleries in 1933. To announce it, La Vanguardia published the following on January 6, 1933: "The artist Gamboa Rothvoss, a long-term resident in Paris, will open an exhibition of paintings at Syra Galleries tomorrow," as Josep Playà indicates in the article "Another surrealist painter rediscovered” (2017).Until his return to Barcelona, "his painting followed post-impressionist guidelines, with works marked by a linear structuring of figures, but as he got more deeply into surrealism he created dreamlike images with collage, well-drawn, outlined figures, and always with gestural backgrounds,” Josep Miquel Garcia explains.Later, in 1958, he moved to Ibiza alone after separating from his former wife, Núria Garreta Socias, with whom he had two children. There, in the “fishermen's quarter”, Garcia tells us that he “actively participated in the cultural life of the island” and developed a style that, without being abstract, accentuates expressiveness and outline. Finally, he moved to Majorca until 1969, when he had to return to Barcelona to be admitted to the Hospital Clínic, where he died in 1970.Having reviewed the biography of Gamboa-Rothvoss, we can conclude that our Blue woman is from the stage when his artistic personality was forming, from a moment of transition in which the seed of the surrealist Rothvoss had been planted and would end up being developed in his Barcelona stage and even in the most abstract and solitary work from the Balearic Islands. Bibliographic references:- Bonet, J. M. (1995). “Diccionario de las Vanguardias en España (1907-1936)”. Page 267. Alianza Editorial.- Enciclopèdia.cat. (s. f.). “Amics de l’Art Nou”. Collected on 19th May 2022, from https://www.enciclopedia.cat/gran-enciclopedia-catalana/amics-de-lart-nou- Garcia, J. M. (2017). “Andreu Gamboa Rothvoss. Recuperant un logicofobista de Sabadell”. Arraona. No. 36, pp. 192-195.- Playà, J. (19 February 2017). “Otro pintor surrealista redescubierto”. La Vanguardia. Https://www.lavanguardia.com/cultura/20170219/42144105526/otro-pintor-surrealista-redescubierto.html

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Day at the beach, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this work Opisso offers us a lively popular scene, brimming with narrative. The family gathered next to the beach hut is getting ready to leave: a mother tries to put the little shoe on her little girl's shoe, another woman is fixing the ribbon tied around the little dog's neck? Each character appears individualised in attitudes, physiognomies and gestures. It is an image rich in detail and characterised by the vivacity of an author who was above all a great draughtsman and cartoonist.In his youth he took part in Barcelona's modernist environment, and in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

RICARDO OPISSO I SALA (Tarragona, 1880 - Barcelona, 1966)."Market, Barcelona".Ink, watercolour and gouache on paper.Signed in the lower right corner.Size: 28 x 18 cm; 48 x 39 cm (frame).In this agitated urban scene, some children try to feed a sheep under the amused gaze of their parents. They are in a Barcelona market, and part of the flock entertains other groups of passers-by at the back, next to a gallery of arcades. As was usual in this artist's compositions, the scene is brimming with narrative. Each character is individualised in attitudes, physiognomies and gestures.Opisso was a painter, draughtsman and cartoonist. In his youth he participated in Barcelona's modernist environment, and in fact in 1894 he began to work as an apprentice with Antoni Gaudí on the Sagrada Família. Two years later, backed by the architect, he became a member of the Círculo Artístico de Sant Lluc, with whom he would later exhibit at the Sala Parés. He was linked to the group Els Quatre Gats, together with Ramon Casas, Manuel Hugué, Isidre Nonell and Pablo Picasso, among others. In 1901 he made a trip to Paris, where Picasso and Hugué were already there. He worked as an illustrator in publications such as "Cu-cut!" and "L'Esquella de la Torratxa", signing drawings aimed at political satire, in a style close to art nouveau. In 1907 he took part in the Fine Arts Exhibition in Barcelona and was awarded a third-class medal. Due to the dictatorship of Miguel Primo de Rivera, Opisso abandoned political satire and his drawings moved towards genre themes, specialising in popular scenes. His works from this period are characterised by the presentation of motley crowds of people in popular Barcelona settings. After exhibiting several times in succession at the Sala Parés, he held his first solo exhibition in 1935 at the Syra galleries in Barcelona. During the post-war period he continued to exhibit in various galleries in Barcelona, and reaped considerable success with both critics and the public. In 1953 he received recognition from his hometown at the 4th Tarragona Art Fair. Most of his work is kept in the Opisso Museum in Barcelona, but it is also present in the National Art Museum of Catalonia and the Museum of Modern and Contemporary Art in Strasbourg. In terms of exhibitions, the one held at the Thyssen-Bornemisza Museum in 2004 under the title "Catalan Painting, from Naturalism to Noucentisme", in which his work "Carnival" was exhibited, is particularly noteworthy. He has also had anthological exhibitions at the Saló del Tinell (1979), the Palau de la Virreina (1980), the Barcelona International Boat Show (1973), the Fundació La Caixa (1988, 2004, 2008) and the Caixa Tarragona (2003).

GUSTAVO BACARISAS Y PODESTÁ (Gibraltar, 1873 - Seville, 1971)."Vista de pueblo".Watercolour and mixed media on paper.Signed in the lower left corner.Size: 34,5 x 28 cm; 50 x 43 cm (frame).Gustavo Bacarisas produced several images dedicated to rural landscapes, in which, as here, he introduced the colour blue with great mastery. A tonality that he mastered to such an extent that it became one of his personal hallmarks. In this image the use of that colour configures a scene in semi-darkness, which is counterbalanced by the warmth of the last shot, lit in such a way as to create a specific moment of the day, when the city, or the village in this case, is dawning. The narrow street, configured through a large diagonal, forms a landscape of great depth, with only an old woman dressed in mourning, next to a little girl tenderly dressed in pink.Gustavo Bacarisas began his studies at the Seville School of Fine Arts and completed his training with a Gibraltar scholarship in Rome (from 1892), Paris, Venice, London and Argentina (between 1906 and 1913), where he held his first solo exhibition in London in 1906 and was relegated to the foreign section at the Madrid National Exhibition of 1915. Settled in Seville in 1914, his fame grew rapidly and he was made an adopted son of the city in 1919. He took part in the Seville Fine Arts Exhibitions of 1916 and 1920, and of particular importance was his solo exhibition of 1921, held at the Museum of Modern Art in Madrid. In 1933 he settled in the Spanish capital, moving during the war to Gibraltar and then to Madeira. He finally returned to Seville in 1945, where he remained until his death. Gustavo Bacarisas's style brought a modern concept to Andalusian painting, in a decorative key but capturing the spirit of things, through beautiful sequences of the life and landscape of Seville and Granada. As a decorator, his production included the set designs and costumes for the opera "Carmen", with a theme similar to that of his painting. He also worked successfully on ceramic paraments for the regionalist architects Juan Talavera and Aníbal González. The balanced combination of tradition and modernity of his style brought him notable successes, as well as the Gold Medal of the Royal Academy of Fine Arts of Santa Isabel de Hungría, of which he was a member since 1964. He was also a member of the San Fernando Academy of Fine Arts in Madrid. Gustavo Bacarisas is represented in the Museo de Bellas Artes in Seville, the Thyssen-Bornemisza and the Museo de Arte Español Contemporáneo in Madrid, among others.

RAOUL DUFY (Le Havre, 1877 - near Forcalquier, 1953)."Landscape of Sicily", 1922.Watercolour and gouache on paper.Work reproduced in the Catalogue raisonné of the artist Aquarelles et gouaches-Supplémet, No. As-0402.Work exhibited at the Galerie Yhoshii (Paris).Signed in pencil in the lower right corner.Measurements: 50.5 x 64.5 cm; 83.5 x 99 cm (frame).The consequences of the First World War and the subsequent interwar period meant a halt in the development of the avant-garde and a return to classicism. In Dufy's case, his unmistakable fluid and colourful aesthetic remained his personal hallmark. However, he undertook a trip to Italy, where he found inspiration in the Mediterranean landscape and the remains of ancient civilisations. The present work belongs to the aforementioned period and depicts a view of Sicily conceived in great depth, which the artist achieves by delimiting the sides through a reduced chromatic tone, while in the central area he deploys a whole play of intense, brilliant colours that make up the landscape. This type of composition was common during his trip to Italy and can be seen in other works by the artist such as "View of the Theatre at Taormina" and in the painting in the MoMA's collection, a watercolour dated the same year as the present work, which shows a view of Taormina, also on the island of Sicily.Raoul Dufy was a Fauvist and Cubist painter, graphic artist and textile designer known for his highly colourful decorative style, which was much appreciated for ceramics, textiles and architectural decorations. In 1895 he began attending art classes at the Ecole des Beaux-Arts in Le Havre, studying the work of Eugène Boudin at the city's museum. In 1900 a scholarship allowed him a short training at the École des Beaux-Arts in Paris, where he met Georges Braque, and, two years later, he began to exhibit (Berthe Weill Gallery in Paris). He began his career with a style influenced by the Impressionist landscape painters (especially Monet and Pissarro). In 1905, on seeing Henri Matisse's "Luxe, Calme et Volupté" at the Salon des Indépendants that year, he turned his work towards Fauvism, adding a vigorous stroke. Towards 1909, contact with Paul Cézanne led him to a more subtle technique. In 1920, after having already experimented with Cubism, he developed his personal approach to this trend, with skeletal structures in a particular perspective, using baths of colour with brushstrokes (in a manner he called "tachygraphic"). Thematically, his predilection for sailing boats, festivals, musical events, horse racing, outdoor activities, flowers, musical instruments and nudes is clear. His work is preserved in important private collections and museums such as the Musée d'Art Moderne de la Ville de Paris, the Van Abbemuseum, the McNay Art Museum, the Art Gallery of Ontario, etc.

GONZALO BILBAO MARTÍNEZ (Seville, 1860 - Madrid, 1938)."Interior courtyard".Watercolour on paper.With dedication by Gonzalo Bilbao to his mother.Size: 27 x 20 cm; 45 x 35 cm (frame).Encouraged by José Jiménez Aranda, Gonzalo Bilbao started drawing as a child. At his father's request he began to study law, which he alternated with artistic training. After graduating in law in 1880, he devoted himself exclusively to painting. He travelled with Jiménez Aranda to Italy and France, and in Paris he visited museums, galleries and the studios of French artists. He remained in Italy for three years, living in Rome, where he worked with the painter José Villegas Cordero. He returned to Spain in 1884 and travelled around the country in search of new landscapes to paint, as well as alternating stays in Morocco, Paris and Munich. From 1903 he taught at the Royal Academy of Fine Arts of Santa Isabel de Hungría in Seville, where his pupils included Vázquez Díaz and Eugenio Hermoso, among others. He won numerous medals in both national and international competitions, including the sole medal at the Universal Exhibition in Chicago (1893), the first medals at the National Fine Arts Exhibition (1899, 1901; of honour in 1915), the gold medal at the Berlin International (1899), and the first medals at the International Exhibitions in Buenos Aires (1910), Santiago de Chile (1910), San Francisco (1915) and Panama (1916). The bulk of Gonzalo Bilbao's work is currently housed in the Museo de Bellas Artes in Seville.

19th Century Sepia Watercolour Drawing of an Ethnic Scene showing indigenous people along a riverbank; Victorian dealer's stamp to reverse, indistinct signature bottom left; painting approx. 8 inches (20cms) x 5.5 inches (13.75cms)

LUIS FEITO LÓPEZ (Madrid, 1929).Untitled.Watercolour on paper.Signed in the lower right corner.Size: 29 x 40 cm; 40 x 50 cm (frame).Born and trained in Madrid, he was one of the founding members of the group El Paso. In 1954 he held his first individual exhibition, with non-figurative works, at the Buchholz gallery in Madrid. From then on Feito exhibited regularly in the most important cities in the world, such as Paris, Milan, New York, Helsinki, Tokyo and Rome. Appointed professor at the San Fernando School of Fine Arts in 1954, two years later he left teaching and went to Paris on a scholarship to study the avant-garde movements in force. During this period he was influenced by automatism and matter painting. In 1962 he became a founding member of the El Paso group, with which he had lost contact during his years in Paris. His first works were figurative painting, followed by a phase in which he experimented with cubism and finally moved fully into abstraction. At first he only used black, ochre and white colours, but when he discovered the potential of light he began to use more vivid colours and smooth planes. He evolved until he used red as a counterpoint in his compositions (from 1962) and, in general, more intense colours. In his abstract phase, which includes the 1970s, Feito showed a clear tendency towards simplification, with the circle predominating in his compositions as a geometric form. Possibly, the influence of Japanese art can be seen in his preference for large bands of black. Most of his works are untitled and can therefore be recognised by a number assigned to them. Among his awards is his appointment as an Officer of the Order of Arts and Letters of France in 1985. In 1998 he was awarded the Gold Medal of Fine Arts in Madrid, and was made a Full Member of the San Fernando Royal Academy of Fine Arts. In 2000 he was awarded the Prize of the Spanish Association of Art Critics at the Estampa Salon, in 2002 the AECA Grand Prize for the best international artist at ARCO, in 2003 the prize for the most important artist at the Osaka Art Fair (Japan), in 2004 the Prize for the Culture of Plastic Arts of the Community of Madrid, in 2005 the Francisco Tomás Prieto Prize of the Fábrica Nacional de Moneda y Timbre, and in 2008 the Jorge Alió Foundation Prize and the Grand Prize for Spanish Contemporary Art CESMAI. Luis Feito is represented in the most important museums around the world, including the Gallery of Modern Art in Rome, the Guggenheim, the MoMA and the Chase Manhattan Bank in New York, the Museums of Modern Art in Tokyo, Paris, Rio de Janeiro and Montreal, the Lissone in Italy and the Albright Art Gallery in Buffalo.

John L Chapman (b1946), signed watercolour painting, figures on a shoreline and fishing boats, 13cm x 20cm, paper label on reverse, Chapman, born 1946 exhibited at the Patterson Gallery in 1981, also Claire Gillo, photographic artist signed print, Misty Morning, together with an antiquarian engraving, published by H Dickens, Regent Street, signed monogram LZ, portrait of lady in fine dress and hat, framed and glazed.

A FRAMED WATERCOLOUR PAINTING OF A FARMYARD SCENE WITH COWS, PIGS AND GEESE, SIGNED WARBY 30/01/05

A 19th century French gilt-brass and alabaster figural 8-day mantel clock, by Samuel Marti, white enamel dial with Roman numeral hour markers, with case surmounted by artist painting watercolour portrait on miniature porcelain panel, case height 32cm, working order, with pendulum and keyMovement - currently workingDial - cleanGlass - noneHands - good Case - miniature porcelain panel is cracked, several points of restoration and re-gluing to figural mounts, and a few small chips to alabaster

Group of assorted furnishing pictures various, to include maritime prints, portrait of Queen Victoria print, oil painting of clipper ship, still life study oil painting, a watercolour beach scene signed Steed, and other marine studies. (7)(B.P. 21% + VAT)

Betty Adams (21st School). Four various watercolours, comprising architectural buildings, signed and dated 07, 27cm x 40cm, Lady shopping for hats, watercolour, 35cm x 26cm, a farming scene with sheep dog and sheep, 16cm x 32cm, and Laundry Day, oil painting, 36cm x 45cm, framed and glazed. (4)

The interior of the palace at Madura, with the District Collector conducting business Company School, Madura, South India, circa 1840pencil and watercolour on paper, inscribed (formerly in lower border, now affixed to backboard) The Durbar, in the ruined palace of the Rajahs of Madura (Drawn by a native) 286 x 415 mm.Footnotes:ProvenanceConway Mordaunt Shipley (1824-88), Royal Navy from 1837, travelled in India 1853-54.With Martyn Gregory, London.Private UK collection.ExhibitedFrom China to the West, Martyn Gregory, London 2012-13, cat. no 101 (label on backboard).The Tamukkam Palace at Madura (modern Madurai), a few hundred miles from Madras, was originally built, circa 1670, as the summer palace of the Rani Mangammal, queen regent of the Nadu kingdom. It was later occupied by the Nawab of the Carnatic, and after that by the East India Company from 1801, functioning as the official residence of the District Collector. From 1959 the palace became the Mahatma Gandhi Museum. With its distinctive ogee arches and massive pillars, it was also depicted by Thomas and William Daniell in the late 18th Century.For a group of four Company School works depicting the exterior of the palace, and the temples of Minatchy and Vasanta, at Madura, see Sotheby's, Oriental Manuscripts and Miniatures, 29th April 1998, lots 91-94. These too have identifying inscriptions in English. M. Archer noted that aside from its official status Madura was regarded as a centre for Company officials, who were attracted by its monuments and sculpture. An Indian artist, named Ravanath Naik, appears to have worked in tandem with British amateur painters (Company Drawings in the India Office Library, London 1972, p. 52).For another painting by an Indian artist, depicting Pudu Mandapa, opposite the Meenakshi Temple, and in the collection of Conway Mordaunt Shipley, see India and Iran: Works on Paper, Oliver Forge & Brendan Lynch, March 2022, no. 25.For further information on this lot please visit Bonhams.com

TWO SATYR TRAGOPAN PHEASANTS Company School, Calcutta, circa 1820watercolour and body colour on English paper watermarked J Whatman, embossed stamp BW lower centre 525 x 755 mm.; 445 x 660 mm.(sight)Footnotes:ProvenanceBenjamin Wolff (1790-1866), a Danish lawyer.Wolff trained as a lawyer in Copenhagen before leaving for Calcutta in 1817 to make his fortune, returning home in 1830. He was an accomplished draughtsman and also collected paintings and aquatints of Indian architecture, people, flora and fauna. His embossed stamp, with a crown motif, is on the lower part of the sheet of paper.This painting - which appears to show two male Satyr Tragopans - in fact depicts one bird before, and during, an idiosyncratic mating performance. Two male tragopans would not in reality tolerate such close proximity to each other.The bird's name (Latin, tragopan satyra) comes from the two blue 'horns' on the head, resembling those of the legendary satyr - half-man, half goat - of classical mythology. All five species of tragopan have these 'horns'. In this painting the horns are shown lying passively beneath the crest and look rather like blue feathers. They are not feathers, however, but long fingers of skin connected to the blue skin that can be seen on the face and throat.The bird on the right is shown in a relaxed posture, his throat skin hanging limp and shrivelled when compared with his orange plumage. The bird on the left has begun his display (with the horns not yet erect). Concealed behind a rock or log the bird will begin to inflate his throat skin, tail spread and wings rhythmically beating, while emitting clicking noises. The throat skin quickly spreads into a remarkable shield, revealing a dark blue centre and vivid pink-patterned sides. Meanwhile the horns spring erect on either side of the jet black crown. The male bird then springs up suddenly from his hiding place, raises himself to his full height and with wings dropped reveals himself to the female.Such displays are infrequently observed by humans, since they inhabit dense bamboo thickets, oak and rhododendron forests in the Himalayan mountains of northern India, Tibet, Nepal and Bhutan.For two other depictions of this bird, both from the Impey Album, see Sotheby's, Arts of the Islamic World, 12th October 2005, lot 41 (attributed to Shaykh Zayn al-Din), and Christie's, Arts of India, 10th June 2015, lot 61 (by Ram Das).For further information on this lot please visit Bonhams.com

A large and impressive panoramic view of the city of Lahore Punjab, Lahore, circa 1840-45watercolour with some gold on paper, 11 separate joined sheets of paper, identifying inscriptions in Persian on painted surface, in mount, framed 24 x 235 cm.Footnotes:The two peaks of Lahore's fortune as a great city were first under the early Mughal emperors, until the death of Aurangzeb, when it was adorned with palaces, gardens and tombs; and second, the period of Maharajah Ranjit Singh, the acme of Sikh power, from his triumphant entrance into the city in 1799 and the establishment of his regime, to the collapse of Sikh rule in the years after his death, and British control of the Punjab. Between those two events it had been captured twice, first by the Persian Nadir Shah, in his catastrophic invasion of India in 1739, and then again by the Afghan Ahmad Shah Durrani.In 1831 the British political officer and traveller, Alexander Burnes, capturing something of the ancient nature of the city, and its various layers of history, wrote:On the morning of June 18th we made our public entrance into the Imperial city of Lahore, which once rivalled Delhi. We moved among its ruins [...] In our evening at Lahore, we had many opportunities of viewing this city. The ancient capital extended from east to west for a distance of five miles, and an average breadth of three, as may yet be traced by the ruins. The mosques and tombs, which have been more stably built than the houses, remain in the midst of fields and cultivation as caravanserais for the travellers. The modern city occupies the western angle of the ancient capital, and is encircled by a strong wall. The houses are very lofty, and the streets, which are narrow, offensively filthy, from a gutter that passes through the centre. (Travels into Bokhara, London 1834).The city was first of all drawn by various European artists, including Frances ('Fanny') Eden (1801-1841), sister of the more famous Emily Eden, who recorded sketching it in her diary for December 1838 (so roughly contemporary with our painting). However, the European doctor, Martin Honigberger, who was in Lahore at the Sikh court between 1829 and 1833, and then again between 1839 to 1849, recorded that he sold a panorama of Lahore by an Indian artist to the Russian painter Prince Alexis Soltykoff. Honigberger apparently took home similar paintings, since in his illustrated memoir Thirty-Five Years in the East (1852) he included lithograph views based on them (see F. S. Aijazuddin, Lahore: Illustrated Views of the 19th Century, 1991, pp. 48-49, no. 15). Woodcut versions, apparently derived from such paintings, but in a much more naive style, were also being produced in the latter half of the 19th Century: for an example, see F. S. Aijazuddin, op. cit., 1991, pp. 84-85, no. 39. At a similar date, panoramas of Delhi, and other highly detailed topographical studies of the city, were being produced by artists such as Mazhar Ali Khan, at the tail end of Mughal power, and Mughal art (for which see J. P. Losty, 'Depicting Delhi: Mazhar Ali Khan, Thomas Metcalfe, and the Topographical School of Delhi Artists', in W. Dalrymple, Y. Sharma (edd.), Princes and Painters in Mughal Delhi 1707-1857, New York 2012, pp. 52-59.)For another example of such a panorama, see Christie's, Arts of India, 10th June 2015, lot 101 (previously at Sotheby's, Exotica: East Meets West, 1500-1900, 25th May 2005, lot 139), which appeared in the exhibition Interaction of Cultures: Indian and Western Paintings 1780-1910, The Fine Arts Museum of San Francisco, 1998, cat. no. 71 (pp. 278-80). For a smaller example from a similar viewpoint, see Christie's, Art of the Islamic and Indian World, 4th October 2012, lot 221.An example of similar size with both English and Persian inscriptions is in the Singh Toor Collection: for a good discussion, along with a survey of the locations and buildings depicted, see D. Singh Toor, In Pursuit of Empire: Treasures from the Toor Collection of Sikh Art, London 2018, pp. 96-101.The monuments identified identified in the inscriptions include (ten have not been fully deciphered):The Shah's tower.The Tower of Rajah Ranjit Singh, construction of which began in 1839, not completed until 1851.The Shah's Tower of Yakki Gate.The Royal (Padshahi) Samman Tower.The Black Gate.The Gate of Light (Roshnai Gate) (illuminated at night).The White (Jasmine) Gate of Jawahir Singh Jiv.The Masti Gate.The Kashmiri Gate (facing in the direction of Kashmir).The Khizri Gate.The Royal (Padshahi) Mosque.The Old Mosque.The Mosque of Vazir Khan.The Hazuri Garden. The Mazhar 'Ali small garden.The Royal Summerhouse.The Sleeping quarter.The Large Sleeping quarter.The Mansion of [...] Nau Nihal Singh Jiv.The Mansion of Sardar Thij [?] Singh.The Mansion of the officer of the army, Khoshhal Singh.The Mansion of Sardar Ahlu Waliyah [?]. The Mansion of Sardar [...] Singh.The Arsenal [?] of Mazhar 'Ali.The Akbari District.The Akbari stable.For further information on this lot please visit Bonhams.com

Swarup Singh, the Rajah of Jind (reg. 1834-64), seated on a terrace in a European-style chair, the painting presented to George Carnac Barnes, Governor of the Cis-Sutlej States, after the Umballa Durbar of 1860 North India, circa 1850-60gouache and gold on paper, inner borders finely decorated in colours and gold, outer border with stylised floral motifs within lobed cartouches in gold on a light pink ground, backboard with typewritten label Portrait of the Raja of Jhind given to GCB after the Umballa Durbar of 1860, in original frame, late 19th/early 20th Century 375 x 290 mm.Footnotes:ProvenancePresented to George Carnac Barnes CB (1818-61), Governor of the Cis-Sutlej States, after the Umballa Durbar, 1860.Thence by descent in the same private UK collection.In 1834, Swarup Singh's predecessor and second cousin, Raja Sangat Singh (1810–1834; r. 1822–1834) died of alcoholism after a profligate and repressive 12-year rule that had brought Jind to the brink of financial collapse; he left no sons. The Government of India (then the East India Company), selected Swarup Singh as the next ruler.During the Anglo-Sikh War, Swarup Singh fought on the side of the British. During the Mutiny or Uprising he defended the British cantonment at Karnal, then saw action at Alipur and at the battle of Badli-ki-Serai. He fought alongside the British forces during the siege of Delhi for which he was mentioned in despatches in 1858, and received the Indian Mutiny Medal. In 1858, as a result he received several honours from the British, and in 1860, was granted a further title, an eleven-gun salute, the territory of fourteen villages and the Delhi properties of a Mughal prince. In 1863 he was appointed a Knight Companion of the Order of the Star of India.The durbar at Umballa in 1860 was attended by Narinder Singh, the Maharajah of Patiala (reg. 1845-62), and several senior British officers and officials: Earl Canning, Viceroy of India and Governor-General; Sir Robert Montgomery KCB, Lieutenant-Governor of the Punjab; Lieutenant-General Lord Clyde GCB (Sir Colin Campbell), the Commander in Chief; The Right Reverend G. E. L. Cotton, Bishop of Calcutta; and George Carnac Barnes CB, Governor of the Cis-Sutlej States. A watercolour by an unknown European artist (in the possession of the seller, and reproduced here) records the scene. Umballa (modern Amballa) is in Harayana, not far from Patiala and Chandigarh, and was the site of a large British military cantonment from the 1840s.A contemporary British official report described the gathering:In the course of his progress through these provinces, the Viceroy and Governor General held a durbar at Umballa on the 18th January, which was attended by all the chiefs of the Cis-Sutlej States. On this occasion, a question of precedence, which has long been contested between the Rajahs of Jheend and Nabha, was settled in favour of the former. The debt contracted by the British Government to the Maharajah of Puttiali and the Rajah of Nabha, amounting to 28,82,000 rupees, has now been redeemed, under an arrangement which increases the territory and revenue of the two States, and at the same time relieves our administration of the outlying pergunnahs of Kanoudh and Boodwanah, and permits of the amalgamation of the two districts of Rohtuck and Jhujjur, and of a permanent reduction of expense. In the same way, the domains of the Rajah of Jheend have been augmented on his payment of a nuzzurana of 4,20,000 rupees. These chiefs are gratified by the addition to their territories; and the arrangement is not inconvenient to the British Government, either in a financial or administrative point of view.In December the daughter of the Maharajah of Puttiala was married to the Maharajah of Bhurtpore. Both families are of the Jat tribe. Hitherto neither has sought alliances beyond its own neighourhood. The estimation in which the Maharajah is held by the British Government, on account of his services during the mutiny, has elevated him in the eyes of the native nobility [...] The ceremony was celebrated with much pomp, but the Commissioner, Mr. G. C. Barnes, was able to procure the omission of the 'Barah', a custom which obtains at the marriage of great personages in India, better honoured in the breach than the observance.It was stated in last year's report that the Hindoor State, in the Simla Hills, had lapsed to the British Government, but, in consideration of the service of the head of the family (one of great antiquity) during the Goorkha war of 1814, and in accordance with the wishes of the Home Authorities, the Viceroy at the Umballa Durbar, restored the sovereignty in the person of Ugger Singh, an illegitimate son of the late rajah, subject to the payment of 5,000 rupees annual tribute.(Statement Exhibiting the Moral and Material Progress and Condition of India, India Office, London 1861).George Carnac Barnes (1818-61) was born in Bombay and died in Hazarubaugh, Bengal. He married Margaret Diana Chetwynd-Stapylton in 1856. His mother was a Rivett-Carnac, one of the foremost families of India's British rulers and administrators. In his story The Tomb of his Ancestors (1897) Rudyard Kipling wrote, 'If there were but a single loaf of bread in all India, it would be divided equally between the Plowdens, the Trevors, the Beadons and the Rivett-Carnacs'.His son, George Stapylton Barnes (1858-1946) continued the family tradition in the Government of India, becoming Joint Permanent Secretary at the Board of Trade, and member of the Viceroy's Executive Council from 1916 to 1921.For further information on this lot please visit Bonhams.com

Garman Morris, watercolour titled ' Hazy Evening ', with various figures and boats, 16ins x18ins approximately and another similar unsigned painting

M. Kingston Walker, signed mixed media painting on paper, portrait of a wire haired terrier, 13.5ins x 17insMixed media in this case, refers to charcoal, watercolour and gouache.

Modern watercolour painting, study of fungi, signed with initials P.H., together with a collection of other similar watercolours by the same hand

A Traditional Chinese Scroll Painting, ink and watercolour on paper, attributed to Wu Changshuo and inscribed by Dong Shouping and Wang Xuetao, 53 x 48cm (image 41 x 30cm)

A Traditional Chinese Scroll Painting, ink and watercolour on silk scroll, attribute to Pu Ru, 113 x 44.5cm, image 81.5 x 19.5

W HERDMAN (19th century British); watercolour 'Shaw Brow 1833', signed lower left, 35 x 75cm, framed and glazed. CONDITION REPORT The painting has fading of colour throughout, large areas of foxing.

Three Chinese watercolour on pith paper painting depicting various figures, all framed under glass, largest overall 25 x 35cm (3)

CHINESE WATERCOLOUR PAINTING OF A FEMALE,dressed in blue robe, printed seal mark lower right, mounted, framed and under glass, 69 x 61cm, together with a Chinese birdcage (2)

Basil Bradley (1842-1904)Irish Cabin Interior Showing a Man and Girl Making Súgán RopeOil on canvas laid down on panel 34.5 x 44.5cm (13½ x 17½”)SignedStraw was one of the most important organic materials in the economy of Irish rural life, and was used in fields as various – and vital – as clothing, building and agriculture. It also accrued religious, ritual and magical significance as well as developing rich linguistic associations. Straw was used for the fabrication of St Brigid’s crosses, for mummers’ costumes, fishing nets, toys and, as is shown here, rope – in Irish súgán or súgán cotháin.Basil Bradley portrays the weaving process as a collaborative effort between different generations of the family with the household’s two dogs noticeably indifferent to the task at hand. The artist’s ‘meticulous observation’ of detail has   been noted and here the furniture, interior setting and costume are rendered accurately giving the painting great documentary value (Claudia Kinmonth, Irish Rural Interiors in Art (2006) p. 88).The work is closely comparable, especially in its earth-based colour scheme, to Bradley’s, Irish Cabin, Spinning and, as is in that work, the  ‘women’s red petticoats’, which provide the one chromatic highlight, ‘suggest that the home is a western one’ (ibid.). In addition to its harmoniously controlled palette, there is a subtle deployment of light effects to evoke presence. Clearly, two sources of illumination are in play. The light from the window which silhouettes the standing girl’s profile is the most obvious. But there is also a secondary source from which light floods the left foreground of the image, bathing the seated man in its rays. This can only be from the cabin’s door and it is easy to imagine that this is the spot where Bradley has set up his easel. This makes him simultaneously a, literally, liminal presence – but also, rather suggestively, a witness as to the scene’s verisimilitude – standing very close by, just on the other side of the picture plane.Also enhancing the veracity of the scene is the way in which Bradley crops into the body of the bare-footed girl at the right-hand edge, rather than composing the scene into a balanced, classically-conceived composition. This is a technique more associated with the advanced Parisian modernity of Degas, than the stylistically retardataire tradition within which most painters of Irish rural life worked.While Bradley is careful to depict very scrupulously what he saw before him when visiting this particular cabin, his analytical viewpoint is not merely ethnographic, or at the expense of human interest. Instead, the image is both an endearing depiction of familial life and shared endeavour and an unmediated testament to the hardness of existence in the rural communities of the West of Ireland.Born in England, and excelling from an early date as an animal painter, Bradley was a careful recorder of the Irish landscape (for example in his View Of The Nine Pins, Connemara, 1873) and sympathetic chronicler of rural life (in for instance his Interior of an Irish Cabin in Connemara, 1879). Bradley exhibited with the Old Watercolour Society and, between 1873-99, with the Royal Academy.  His Irish work is rare but examples of his art can be found in leading museum collections internationally including the Victoria and Albert Museum, London, Manchester Art Gallery and the Art Gallery of New South Wales, Sydney.

Jack Butler Yeats RHA (1871-1957)Talk (Egglers) (1905)Watercolour, 26.5 x 36.5cm (10½ x 14¼")SignedProvenance: With Victor Waddington, London; N.Bernstein, Dublin; Private Collection, Dublin.Exhibited: London, Baillie’s Gallery, February/March 1905, cat.no.69; Dublin, Leinster Hall, 1905, cat.no.18; London, Waddington Galleries, 1961 as Talk.Literature: Studio162 (July 1961) 27 (repro); Hilary Pyle, Jack B. Yeats: His Watercolours, Drawings and Pastels, Irish Academic Press, 1993, cat.no. 552, illus.Yeats’s painting was first exhibited at the show, Sketches of life in the West of Ireland at Leinster Hall, Molesworth Street, Dublin in 1905 and in London the same year. It depicts two men in a darkened interior. Their heads are close together and one is whispering into his companion’s ear. A distinctly conspiratorial tone is evoked. A contemporary reviewer in 1905 described the figures as ‘typical countrymen … bargaining or preparing to bargain’. The enclosed interior is contrasted by the open view to the left through which a streetscape and shop front is evident. This introduces light and colour into the composition and reinforces the sense of claustrophobia and menace embodied in the two men. The pencil marks of the under drawing are visible in the outlines of the mens’ features alongside the dark brown of the watercolour. White paint is used to highlight the contours of the faces. The figure on the right bears a resemblance to Jack B. Yeats who may have used himself as a model in the work.The original title of the painting was Egglers. Egglers were men who dealt in eggs, an industry that was dominated by women in the Ireland of their day. The period in which this work was painted saw major attempts by the government through the Congested Districts Board and by the Irish Agriculture Organisation Society to regulate the poultry industry. The IAOS paid high prices for eggs from Irish countrywomen in order to counteract the activities of the egglers or gombeenmen whose dealing had a negative impact on the price of this important commodity, as well as affecting the income of many Irish women who depended on the sale of eggs and a fair price for the produce. Like many of Yeats’s other watercolour paintings, this work explores in a humorous manner an important aspect of life in contemporary Ireland. Its exaggerated use of colour and form make this a highly original and expressive painting. As another reviewer noted, ‘everyone who takes an interest in art, and good and rugged art at that, should look in at Jack B. Yeats’s art in Molesworth Street.’Dr Roisin Kennedy, May 2022

Jack Butler Yeats RHA (1871-1957)The Bridge at Skibbereen (1919)Oil on canvas, 46 x 61cm (18 x 24")SignedProvenance: Sold by the artist to Dr Carey, London, 1950; Victor Waddington, London; With Theo Waddington Fine Art; Private Collection, DublinExhibited: Dublin, August 1920, Society of Dublin Painters; Limerick, September 1945, Goodwin Galleries; New York, November 1971, Coe Kerr Gallery, Centennial Exhibition; Dublin, September/October 2004, Douglas Hyde Gallery, Jack B. Yeats Amongst Friends, cat.no. 3; Dublin, October 2010, IMMA ‘The Moderns’; Skibbereen, Co. Cork, July/October 2018, Uillinn, West Cork Arts Centre, Coming Home: Art and the Great Hunger.Literature: Hilary Pyle, Jack B. Yeats: A Catalogue Raisonne of the Oil Paintings, Andre Deutsch, London 1992, No. 116, vol.1In the summer of 1919 Jack B Yeats visited Skibbereen, in Co. Cork, drawing and sketching the surrounding landscape. He wrote to the American collector, John Quinn, telling him that ‘There was good painting ground near to the town. All the creeks and islands of the bay were delightful…’.[1] Yeats produced several oil paintings based on the scenery of Skibbereen and Schull. The Bridge, Skibbereen is the largest and most ambitious of these works and was exhibited at the inaugural show of the newly formed Society of Dublin Painters in 1920.Two boys and two young women stand on a bridge overlooking the river Ilen. Below them is an expansive view of the surrounding hills and the undulating flow of the water through the countryside. Two horses stand in the field below. The bridge is the old metal bridge which spanned the Ilen river and which was removed in 1963 and replaced by the more modern John F. Kennedy Bridge, the following year. The bridge was located beside the West Cork Hotel, a popular destination for tourists.[2] Its stone capstone and metal railings separate the figures from the view, creating an unusual and modern composition. The fashionably dressed young women seem to belong to the more urbane world of travel and fashion than that of the wild nature that extends before them. Their genteel poses are counteracted by those of the youths, one of whom has his arm around his companion’s shoulders, emphasizing their shared elation at observing the horses.The height of the surrounding hills has been exaggerated to create a more dramatic environment but one in which a sense of calm prevails. The outskirts of the town are visible on the hill to the left, with smoke emanating from the chimneys and walled gardens extending down the bank. The distant mountain is made of tones of green and blue and the sky is streaked with salmon pink and grey clouds. This palette is subtly picked up in the pink and blue costumes of the women in the foreground, completing a tightly composed work in which all the components of form and colour subtly compliment and enrich each other.Dr. Roisin Kennedy, May 2022[1] Letter of Jack B. Yeats to John Quinn, 8 October 1919, quoted in H. Pyle, Jack B. Yeats. A Catalogue Raisonne of the Oil Paintings, 1992, I, p.102.[2] I am grateful to Finola Finlay for this information.Dusk is gently setting in, the evening light drawing out and casting pale pink highlights across the clouds. The sunsets’ reflection is captured in the still waters of the river below, while deep blue shadows fall across the rolling hills in the distance. A street of houses stretches off to the left-hand side of the composition and bends swiftly out of view. Smoke can be seen rising slowly from the small townhouses of Skibbereen village.   The two boys standing with their backs to us on the bridge appear animated, looking down on a scene below. Their excitement is wonderfully captured in the young boy reaching his arm across his companion to share in his delight. We notice a smile on the other boy’s face with his cheeks lifting in amusement. The boys’ interest seems to be directed at the two horses who are seen grazing in the field beyond. They pay no heed to these on lookers, continuing their evening meal, necks bowed gracefully. The face of the white horse is beautifully rendered by Yeats, the ears tucked back, large eyes searching in the long grass. He even manages to capture the tension of the muscles in the horse’s jaw while eating.   Yeats has a wonderful ability to suggest or gesture towards moments in his compositions without fully revealing the whole scene. We are not aware of any relationship between the figures, it seems as they have all by chance happened upon the same vantage spot. The two boys may be visiting the village on holidays, excited by seeing horses in the wild for the first time. Or are local to the town and thrilled at being allowed to stay out later than usual in the summer evenings, stopping by the bridge to visit the paddock.  Their excitement does not seem to have affected the two female figures who gaze calmly out into the distance, enjoying the sunset. This work is an excellent example of this earlier period in Yeats style dominated by Romantic depictions of the West coast of Ireland, of its landscape and people. There is a strong use of line in the work and it reflects his time working as an illustrator, sketching in ink and watercolour the experiences of both rural and urban Irish life.   While his style will become much more abstracted in the immediate years following this work, in this example the figures are painted with great attention to detail. In particular the features of the woman’s profile, the sharp angle of her jaw and nose, a glimpse of her red hair peeking out from under her hat. For the other figure who is turned away from us, her hat is adorned with a beautiful arrangement of blue summer flowers. He expertly handles the drapery of both women’s coats, showing the cut and folds of the fabric. They complement each other, standing side by side in dusky pink and pale blue.  Although the scale of work is extensive, he uses a closely contained composition, placing the figures in the foreground of the picture plain, to create a greater sense of depth and distance to the surrounding landscape. The upright pillar of the bridge juts dramatically out into corner of the work directing our eyeline across the middle of the composition to the town and hills in the distance. There is an openness and breath to the painting. By using the bridge as horizontal plain, Yeats has provided us with a similar vantage point to that of the figures, as if we are standing behind them revelling in the shared twilight spectacle. Niamh Corcoran, May 2022

Helen CondyOver The WallWatercolourSignedTogether with a George Stainer watercolour, other watercolours and an oil painting

A K F Norman watercolour of a figure painting in boat yard, together with a further drawing of two dogs in gilt frame and mount, an unframed watercolour of Barden Cottage and a print 'Winter feeding', also framed.

MICHAEL FFOLKES (1925-1988). Five monochrome cartoons featuring the artist, his friend David Backhouse, & the Villa Magdala hotel in Bath; 7” x 9” (oval, dated 26.6.64), 12” x 8½”, 10” x 9¼”, 9” x 12”, & 9” x 12”, in matching glazed frames; & a watercolour painting of Vila Magdala signed “A. Andrew 1795” in glazed frame, 16½” x 20¾”.

Edwin Hayes, R.I. (1819–1904) - English & Irish Marine Artist - A 19th Century watercolour on paper painting depicting a moored fishing boat with fisherman and son walking along with coast and rowing boats on shore. To the distance other fishing vessels with buildings and hills. Signed EH 1877. Framed and glazed. Artwork measures approx 13cm x 22cm, frame 29.5cm x 39.5cm approx.

William Evans Linton (1878-1956) - An early 20th Century watercolour on paper painting depicting a harvest scene. The painting being signed by the artist and held within a glazed frame. Measures approx; 49cm x 63cm / 33cm x 47cm.

A Kathleen Russel (1940) botanical watercolour, 26cm x 36cm, a further pen and ink watercolour with a waterfall in the background, 24cm x 28cm, Janet Patterson head and shoulder study, a seated lady oil painting and a further painting (5)

Watercolour painting of a lady deep in thought. Dated 1894 and initialled EG lower right. 42cm x 51cm overall.

A framed and glazed late 19th / early 20th century Indian erotic watercolour painting, believed to be taken from the Karma Sutra, measures 17.5cm x 12.5cm.

W G Collingwood, (1854-1932), a watercolour, Winter Sunrise Coniston Fell, signed and attributed verso, 35 x 50cm, mounted framed and glazed, 55 x 70cm Overall good condition, glass could do with a clean on the inside. painting nice and fresh. Gilt frame and mount okay

Brian Barlow (20th century British), after a pair of prints, Bolton and a selection of pictures, inc goache painting, coastal scene, 28 x 43cm, P Morris, a watercolour, Grimsby harbour, 31 x 23cm, framed and glazed

* JEAN B MARTIN RSW (SCOTTISH b. 1947),SANTA MARIA DE LA SALUTEwatercolour on paper, signed, titled labels versoimage size 48cm x 32cm, overall size 68cm x 52cm Framed and under glass.Handwritten label verso.Label verso: The Gatehouse Gallery, Glasgow. Note: Jean B Martin was born in Glasgow in 1947 and trained at the Glasgow School of Art. She was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW) in 2002. Luminosity and depth are the most immediately striking features of Martin's work, achieved by building up layers of glazing and collage, lending the effect of an inner glow to her painting. Her work comprises a diversity of subject matter, from vibrant floral-based still lives to sublime church interiors, and landscapes from golden-hued Venice to the blustery East Coast of Scotland, involving the viewer through evoking the distinct atmosphere of each subject. Jean Martin has won numerous awards and is an important Scottish painter of her generation. Her work is held in many private and corporate collections in the UK, Hong Kong, Singapore, Australia, Canada and America.

* JAMES HARRIGAN (SCOTTISH b. 1937),TWEED HILLSIDEwatercolour on paper, signed, titled labels versoimage size 48cm x 71cm, overall size 73cm x 91cm Mounted, framed and under glass.Handwritten label verso.Label verso: The Macaulay Gallery, East Lothian.Note: James Harrigan was born in Ayr and studied Painting and printmaking at Glasgow School of Art from 1956 to 1961. After a successful career teaching art he has painted full time for many years, working mainly in oils. Harrigan is an expressive painter, using the rich, luscious quality of the paint to great effect. He is a past winner of the prestigious Laing Landscape Competition and The Scotsman (newspaper) Art Competition. His work is represented in many public collections including those of the House of Lords, Glasgow University and the Maclaurin Gallery.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),GIOVANNI'S ALLOTMENT, TUSCANYoil on board, signed, titled label versoimage size 51cm x 102cm, overall size 64cm x 115cm Framed.Handwritten artist's label verso.Note: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years, he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian clifftop villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.Condition is good overall, with no visible signs  of restoration, damage, or known issues. Provenance is from a private Scottish collection. 

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),LANDSCAPE IN TUSCANYoil on board, signed, titled labels versoimage size 21cm x 16cm, overall size 37cm x 33cm Framed.Handwritten artist's label verso.Label verso: The Open Eye Gallery, Edinburgh.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.

* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012),ROCK ABSTRACT 2mixed media on board signed and titled versoimage size 56cm x 46cm, overall size 64cm x 53cm Framed and under glass.Note: personal inscription and doodles verso.Note 2: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in worldwide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.

* JONATHAN HOOD (SCOTTISH b. 1957),WOMANoil on board, signed, titled and dated '98 versoimage size 18cm x 16cm, overall size 31cm x 29cmFramed.Note: Jonathan Hood was born in 1957 in Edinburgh, and grew up in Fife and Tayside. He was artistically trained at Duncan of Jordanstone College of Art, Dundee and at the Ecole des Beaux Arts, Paris. Jonathan became a full-time painter in 1986, mostly working in watercolour and collage. He is a keen art teacher, regularly running children’s workshops as well as adult night classes. In 2006, he conducted a collage and painting workshop in Morgan Academy, Dundee for the Racial Equality Commission enabling 2 school pupils to reach the final. Since 2006, Jonathan has also run the WASPS studio open weekend in Dundee. Currently, Jonathan is working mostly in oil, using bright colours and painting on board. He has been exhibiting regularly in galleries around the UK, and in Holland, France and Italy. Jonathan uses dramatic blocks of colour to create depth and texture within his works. His clever compositions create narratives through the interaction between figures, and the addition of carefully selected props to be interpreted by the viewer. It is a testament to his artistic skill that he can convey strong emotion with only the simplest of brushstrokes to represent facial features.

Dimitra Mazi (Greek b.1980) Pushing Away My Fears Watercolour, gold-leaf and marker on paper painting Unsigned Framed & glazed 53 x 43 cm (21 x 17 in) Dimitra Mazi was born in Corfu, Greece in 1980. In 1998, she moved to London to find her creative path, where she decided to study Public Art and Design at Chelsea College of Art and Design. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions. 

Dimitra Mazi (Greek b.1980) Breaking Through Watercolour, gold-leaf and marker on paper painting Unsigned Framed & glazed 53 x 43cm (21 x 17 in) Dimitra Mazi was born in Corfu, Greece in 1980. In 1998, she moved to London to find her creative path, where she decided to study Public Art and Design at Chelsea College of Art and Design. This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Christian Richter (Swedish 1678-1732) Portrait miniature, watercolour on vellum Head and shoulder portrait of Carey (née Fraser) Countess of Peterborough (1655-1709) Within gilt frame with scrolled crest, bearing Burlington Fine Arts Club exhibition label verso Oval 8.5cm x 7cm Provenance Charles Lees Collection: the miniature is accompanied by the original receipt of purchase by Lees for the sum of £20, dated April 9th 1883, from Ernest Renton Jeweller Art Designer and Collector of Curios, 1B Pall Mall Place, London. Charles Edward Lees was a successful British industrialist who curated his collection of paintings and miniatures during the latter half of the nineteenth century. Lees acquired examples by many notable artists with the assistance of known art dealers William and George Agnew. One hundred portrait miniatures from his collection were sold at Bonhams forming The Charles E Lees collection sale in November 1997. Exhibited Burlington Fine Arts Club London, Exhibition Portrait Miniatures,1889, case 29, no.37 Cf. A comparable example sold at Bonhams London, The Albion Collection of Fine Portrait Miniatures, Apr 2004, Lot 11 Further miniatures of Carey: Charles Lees Collection, Bonhams, November 1997, Lot 20 - also by Richter Edward Grosvenor Paine Collection, Christie's, October 1980, Lot 40 - by Peter Cross. Portrait Miniatures The Property of a Lady, Bonhams, April 2005, Lot 9 - by Peter Cross Carey Countess of Peterborough was an English courtier, and maid of honour to Queen Catherine from 1674 to 1680. Carey was one of the 'Hampton Court Beauties' painted by leading portrait painter Sir Godfrey Kneller depicting eight of the most fashionable and glamourous ladies of the court of William III. During the early part of his career Christian Richter is believed to have studied under leading Swedish portrait miniaturist Elias Brenner, later working in Berlin and Dresden where he gained a strong following. Upon arrival in London in 1704 Richter began by copying full scale portraits of other popular artists including Michael Dahl and Godfrey Kneller. The antiquary and engraver George Vertue said of Richter's work: 'his Manner of Painting very tender and Curious, his tincts had a great variety his pencil regular and neat, his lines of drawing very just & toucht with freedom'.Condition Report:Good overall condition. Light signs of wear commensurate with age to frame.

Fullylove, "An oak tree lined lane", watercolour painting, signed and dated 1881, 34cm x 52cm, gilt frame and glazed

William Thornton Brocklebank (1882-1970) 'Still life, chamber stock & bottle' watercolour painting, signed 25cm x 18cm, gilt framed, mounted and glazed