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

Oil Painting of Still Life Vases and Fruits, signed lower left R Wilcox, 45cms x 38cms, framed and glazed together with Watercolour of Still Life signed E Muraton, 45cms x 29cms, framed and glazed

MARY READE: "Haystacks" late 19th Century naive painting, watercolour, signed lower left, framed and glazed, 11.5cm x 21cm

Leslie Gilbert, RI, 1912-2002, Gayesgarthdale, Cumbria, signed, watercolour, 25 x 55cm, paper label to reverse, together with a book, Leslie Gilbert, Painting for Myself by Pamela Bates and Russula Mairei, fungus, signed, watercolour, 12 x 14cm (3)

William Lionel Wyllie RBA (1851-1931) - A 19th Century watercolour on paper laid on board scene depicting sailing boats with their sails down. The painting entitled 'Riverview'. Signed paper label to verso. Set within a gilt frame and being glazed. Measures approx; 24cm x 33cm.    

Dame Elizabeth Violet Blackadder DBE, RA, RSA (1931-2021) - A signed limited edition print of a watercolour painting depicting cat among a vase of flowers. Signed by artist in pencil and limited 178/350 with artist guild mark to the paper. Framed and glazed. Measures approx; 90cm x 69cm.

Arthur George Bell (British 1849-1916) - An early 20th Century 1912 watercolour on paper painting entitled 'Boulgue' depicting the harbourside with figures and boats. Framed and glazed with paper label to verso. Measures approx; 36cm x 43cm. 

John Cosmo Clark (B.1897-1967) - 'Early Morning Sun Amiens' - A mid 20th Century watercolour on paper painting depicting an early morning street scene. Signed to the bottom right and dated 1953. Various gallery labels to the verso. Measures approx; 40cm x 57cm. 

Edwin Penny British b1930 - An original watercolour on paper painting depicting a winter landscape scene with trees and buildings enveloped in fallen snow. Signed by artist to right corner. Framed and glazed. Measures approx; 40cm x 49cm (frame) / 26cm x 37cm artwork.

Edward Wesson (1910-1983) - 'Yarmouth, Isle Of Wight' - A mid 20th Century watercolour on paper painting depicting moored / beached boats. Signed to the lower left with paper labels to the verso. Framed and glazed. Measures approx; 54cm x 71cm.   

Yachting Interest - A 19th Century watercolour on paper painting depicting the Gaff Cutter Yacht Minna from Royal Mersey Yacht Club captained by a Capt W Jost of the coast of Newport Massachusetts. The boat in side profile with crew on deck and sails raised flying the flags of the club. Signed to lower right corner. Framed and glazed. Measures approx; 50cm x 70cm.

A pair of 18th Century watercolour on ivory portrait painting miniatures depicting an Ellen Thirnbeck daughter of John Thirnbeck and wife of James Grace and also an example of James Grace her husband. Set to ebonised frames with brass mounts. Measures approx; 13cm x 11cm. 

Two 19th Century watercolour on ivory portrait painting miniatures both depicting children. Comprises an example of a young girl in blue dress with brown hair and another of a boy in black jacket and white shirt held within an ebonised square frame with brass oakleaf mounts. Measures approx; 13cm x 11cm (boy). 

S. J. (Toby) Nash (1891-1960) - A watercolour painting depicting Canterbury Cathedral. The painting depicts the famous landmark under blue sky with busy scene of buildings and trees. Notated and signed by artist. Framed and glazed. Measures approx; 48cm x 64cm / 29cm x 45cm.

After Francois Boucher - An early 19th Century watercolour painting depicting a classical scene with seated Roman Gods Artemis & Diana resting on a marble plinth with Cherubs & puttis among the blossoming botanical foliage. Set to an ornate swept gilt gesso frame. Measures approx; 25cm x 22cm, 12.5cm x 9.5cm.

An 18th Century watercolour on ivory portrait painting miniature depicting a gentleman, possibly John Thirnbeck of London. The sitter depicting in black formal dress jacket with white shirt. Set to an ebonised square frame with oak leaf mount. Measures approx; 11cm x 13cm.

Anthony Vandyke Copley Fielding POWS (1787-1855) - A 19th Century watercolour portrait painting depicting a landscape scene with trees in forest clearing and figure to distance. Signed to lower right corner C Fielding. Framed and glazed. Measures approx; 45cm x 58cm.

An unusual early 20th Century watercolour and oil portrait painting study on paper depicting a gentleman in Chinese robes and hat with silver Pheasant civil rank badge to the centre. The male figure appearing to be a Western gentleman holding an opium pipe with blue detailing to the robe. Some obvious ware to the painting and held within a later frame. Measures approx; 40cm x 28cm.

Modern Painting of a Nude, by Louise Dear, watercolour on canvas, with beautiful hand embellishments. Measures 8.5'' x 12'', mounted behind glass and framed in a white modern frame, overall size measures 21'' x 24''.

A Chinese watercolour hanging scroll painting, 20th century, painted with a horse beneath a poem, with two red chop marks, image 66cm x 39cm

GEORGE OWEN WYNNE APPERLEY (Isle of Wight, England, 1884 - Tangier, Morocco, 1960)."Beach.Watercolour on paper.Dated in the lower right area.Size: 25 x 35 cm; 30 x 40 cm (frame).Provenance: Bought in Morocco directly from the author.George Owen Wynne Apperley belonged to an aristocratic Welsh family, which allowed him a comfortable economic situation. He was attracted to painting from an early age and, in opposition to his family, he enrolled at the Herkomer Academy. His training was furthered by a trip to Italy, where he was captivated by the Mediterranean light and produced genre and landscape paintings. After marrying secretly in 1907, he moved with his wife to Lugano (Switzerland), before returning to London. In 1914 he travelled to Spain, settling permanently in Madrid two years later, before settling in Granada a year later, where he became acquainted with local painters such as Francisco Soria Aedo and López Mezquita. When the Second Republic was proclaimed, he moved to Tangiers (Morocco), where he became interested in new Orientalist themes, and where he died. His work could be seen in the different countries in which he lived, with a particularly important exhibition in 1918 inaugurated by King Alfonso XIII and Victoria Eugenia de Battemberg, a moment from which his prestige increased. His work is preserved in prominent private collections and institutions such as the Victoria & Albert Museum in London, the Museum of Malaga, the Palace Art Museum in Brussels, the Municipal Museum of Fine Arts of Tandil in Buenos Aires (Argentina), the Museum of Sydney (Australia), etc.

GEORGE OWEN WYNNE APPERLEY (Isle of Wight, England, 1884 - Tangier, Morocco, 1960)."Bridge".Watercolour on paper.Unsigned.Size: 17.5 x 24.5 cm; 28.5 x 36 cm (frame).Provenance: Bought in Morocco directly from the author.George Owen Wynne Apperley belonged to an aristocratic Welsh family, which gave him a comfortable financial situation. He was attracted to painting from an early age and, in opposition to his family, he enrolled at the Herkomer Academy. His training was furthered by a trip to Italy, where he was captivated by the Mediterranean light and produced genre and landscape paintings. After marrying secretly in 1907, he moved with his wife to Lugano (Switzerland), before returning to London. In 1914 he travelled to Spain, settling permanently in Madrid two years later, before settling in Granada a year later, where he became acquainted with local painters such as Francisco Soria Aedo and López Mezquita. When the Second Republic was proclaimed, he moved to Tangiers (Morocco), where he became interested in new Orientalist themes, and where he died. His work could be seen in the different countries in which he lived, with a particularly important exhibition in 1918 inaugurated by King Alfonso XIII and Victoria Eugenia de Battemberg, a moment from which his prestige increased. His work is preserved in prominent private collections and institutions such as the Victoria & Albert Museum in London, the Museum of Malaga, the Palace Art Museum in Brussels, the Municipal Museum of Fine Arts of Tandil in Buenos Aires (Argentina), the Museum of Sydney (Australia), etc.

GEORGE OWEN WYNNE APPERLEY (Isle of Wight, England, 1884 - Tangier, Morocco, 1960)."Village View".Watercolour on paper.Signed in the lower left corner.Size: 24 x 34.5 cm; 36.5 x 47.5 cm (frame).Provenance: Bought in Morocco directly from the author.George Owen Wynne Apperley belonged to an aristocratic Welsh family, which gave him a comfortable financial situation. He was attracted to painting from an early age and, in opposition to his family, he enrolled at the Herkomer Academy. His training was furthered by a trip to Italy, where he was captivated by the Mediterranean light and produced genre and landscape paintings. After marrying secretly in 1907, he moved with his wife to Lugano (Switzerland), before returning to London. In 1914 he travelled to Spain, settling permanently in Madrid two years later, before settling in Granada a year later, where he became acquainted with local painters such as Francisco Soria Aedo and López Mezquita. When the Second Republic was proclaimed, he moved to Tangiers (Morocco), where he became interested in new Orientalist themes, and where he died. His work could be seen in the different countries in which he lived, with a particularly important exhibition in 1918 inaugurated by King Alfonso XIII and Victoria Eugenia de Battemberg, a moment from which his prestige increased. His work is preserved in prominent private collections and institutions such as the Victoria & Albert Museum in London, the Museum of Malaga, the Palace Art Museum in Brussels, the Municipal Museum of Fine Arts of Tandil in Buenos Aires (Argentina), the Museum of Sydney (Australia), etc.

GEORGE OWEN WYNNE APPERLEY (Isle of Wight, England, 1884 - Tangier, Morocco, 1960)."Harbour", 1911.Watercolour on paper.Signed and dated in the lower right corner.Size: 24 x 34.5 cm; 36.5 x 47.5 cm (frame).Provenance: Bought in Morocco directly from the author.George Owen Wynne Apperley belonged to an aristocratic Welsh family, which gave him a comfortable financial situation. He was attracted to painting from an early age and, in opposition to his family, he enrolled at the Herkomer Academy. His training was furthered by a trip to Italy, where he was captivated by the Mediterranean light and produced genre and landscape paintings. After marrying secretly in 1907, he moved with his wife to Lugano (Switzerland), before returning to London. In 1914 he travelled to Spain, settling permanently in Madrid two years later, before settling in Granada a year later, where he became acquainted with local painters such as Francisco Soria Aedo and López Mezquita. When the Second Republic was proclaimed, he moved to Tangiers (Morocco), where he became interested in new Orientalist themes, and where he died. His work could be seen in the different countries in which he lived, with a particularly important exhibition in 1918 inaugurated by King Alfonso XIII and Victoria Eugenia de Battemberg, a moment from which his prestige increased. His work is preserved in prominent private collections and institutions such as the Victoria & Albert Museum in London, the Museum of Malaga, the Palace Art Museum in Brussels, the Municipal Museum of Fine Arts of Tandil in Buenos Aires (Argentina), the Museum of Sydney (Australia), etc.

Hale (Kathleen, 1898-2000). Manda, the Jersey Cow, watercolour and pencil on paper, some light spotting (mainly at edges), mount aperture 26.0 x 34.0cm (10 1/4 x 13 3/8ins), framed and glazed (49.3 x 56.1cm), verso with red ink number 116, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, and 2 pencilled numbers, together with: Hassan and Grace go for a Drive, circa 1958, two preliminary sketches for facing pages in Orlando's Magic Carpet (pp.20-21), which together form a continuous scene of the car journey, with camels and donkeys sharing the road with Hassan's car, both watercolour and pencil on paper, mount apertures 14.4 x 18.8cm (5 5/8 x 7 3/8ins), & 16.1 x 19.1cm (6 1/4 x 7 1/2ins) respectively, framed and glazed (36.6 x 40.0cm & 38.6 x 40.5cm respectively), the first with pencilled title on verso, with inscription 'Goldmark No 13', plus label of Goldmark Gallery, Rutland, and several numbers in coloured inks, one of which (no.87) relates to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, the second with 'Orlando's Magic Carpet' inscribed on verso, with the number 88A[?], plus: Can you see Mr. Fluff sitting like a Pom-Pom on the old Lady's hat?, 1940s, pen & blue ink and watercolour on paper, with some white bodycolour corrections, title inscribed by the artist in blue ink, a few spots and minor marks, mount aperture 31.0 x 21.5cm (12 1/4 x 8 1/2ins), framed and glazed (53.2 x 42.5cm), verso with pencilled 'No. No.', and number 32, and with red ink number 71, relating to the Kathleen Hale Memorial Exhibition held at the Redfern Gallery in 2001, with a print of the oil painting 'Orlando reclining amongst flowers', mount aperture 15.8 x 19.4cm (6 1/4 x 7 5/8ins), framed and glazed (27 x 29.8cm)Qty: (5)Footnote: Manda the Jersey Cow is also listed in the Michael Parkin exhibition A Summer Picnic of Pictures, 2002 (number 29) as 'Jersey Cow'. 'Can you see Mr.Fluff ...?' is a proposed illustration for an unpublished children's story 'Mr. Fluff', part reproduced in colour in Kathleen Hale's autobiography A Slender Reputation (plate 16).

French School, 19th centuryPortrait of a French cavalry officer at the Battle of Smolensk, Napoleon mounted on white horse in the backgroundinscribed 'Prise de Smolinsky/Par la grande armée, en aout/1812' (lower left) watercolour and gouache 62.2 x 99.1cm (24 1/2 x 39in).Footnotes:Lieutenant of the Chasseurs à Cheval of the Imperial Guard at Smolensk, 1812This attractive work depicts an incident during Napoleon's fateful campaign against Russia during 1812. Having defeated the Russians in 1807 and come to an accord in the Treaty of Tilsit, relations between Tsar Alexander I and the French Emperor deteriorated in the following years. Russia resented the ban imposed on its exports of naval timber to Great Britain, was displeased by the establishment of a newly independent Poland and was deeply offended by Napoleon's rejection of the Tsar's sister as his second wife in favour of an Austrian princess. Renewed conflict was inevitable.Napoleon's army - 250,000 French troops and the same number of 'allies', mostly Poles and Germans - entered Russia on 22nd June 1812 and advanced steadily against two retreating Russian armies. Only relatively minor clashes occurred during the 350-mile advance to Smolensk, which was reached in mid-August. The Russians made a stand at Smolensk with Lieutenant-General Raevsky's Corps holding off the Emperor in a bloody two-day battle while the main Russian armies slipped away to fight another day. Napoleon continued his advance, fought the indecisive battle of Borodino on 7th September and occupied Moscow, but was forced into a disastrous retreat by the Russians burning their own capital and the exhaustion of his supplies. The Emperor's forces - about 20,000 survivors - left Russian on 14th December.The principal subject of the painting is an officer of the Chasseurs à Cheval of the Imperial Guard. This regiment of Light Cavalry, best known from the dramatic painting by Théodore Gericault in the Louvre, was a favourite unit of Napoleon's and he was often depicted in its Undress uniform. The regiment acted as the Emperor's mounted escort and is seen at far right following Napoleon's staff with the Emperor in front on a grey horse. Unusually for a campaign setting, the lieutenant is wearing Full Dress comprising leather breeches, dark green horse furniture and dolman and the scarlet pelisse.The Imperial Guard was Napoleon's Corps d'Elite of specially-chosen soldiers who were always reserved in battle to give the final shocking charge to break the enemy after the Line regiments had worn down the opposition. The background of the painting shows serried ranks of infantry and cavalry advancing against the city and the billowing gunpowder smoke of thousands of muskets and hundreds of cannon. The middle ground behind the mounted officer features troops from units of the Imperial Guard including from left to right - Grenadiers in bearskin caps, a Chasseur, a Polish Lancer, a Horse Grenadier and one of the Empress's Dragoons. Two Mamelukes of the Guard and a Gendarme d'élite appear under the horse and at far right Foot Artillerymen and a Dutch Lancer of the Guard are gathered round a fire.We are grateful to Dr. Andrew Cormack for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Two sections of Chinese embroidered silk, framed and glazed, each approx 42 x 24cm, a page from a Japanese book and a framed and glazed watercolour (4).PROVENANCE: from the Brian Morley collection. Brian Morley was born in 1935 in the Peak District, Derbyshire. He had a grammar school education at Buxton College and went on to study at Goldsmiths School of Art (University of London) from 1954-58. He won prizes for drawing and was given the John Murray Award for landscape painting by the Royal Academy in 1956 and 1958. He then studied painting at the Royal College of Art from 1958-61 where he was awarded his A.R.C.A. After graduation, he taught part-time in various art schools before taking up an appointment as Senior Lecturer in Fine Art at Manchester Polytechnic in 1975. He remained in Manchester until he retired as Head of the School of Painting and Printmaking in the Faculty of Art & Design at Manchester University in 2000.

NORMAN CLIFFORD JACQUES (1926-2014); watercolour, landscape, signed, 23 x 30.5cm, framed and glazed. (D)PROVENANCE: from the Brian Morley collection. Brian Morley was born in 1935 in the Peak District, Derbyshire. He had a grammar school education at Buxton College and went on to study at Goldsmiths School of Art (University of London) from 1954-58. He won prizes for drawing and was given the John Murray Award for landscape painting by the Royal Academy in 1956 and 1958. He then studied painting at the Royal College of Art from 1958-61 where he was awarded his A.R.C.A. After graduation, he taught part-time in various art schools before taking up an appointment as Senior Lecturer in Fine Art at Manchester Polytechnic in 1975. He remained in Manchester until he retired as Head of the School of Painting and Printmaking in the Faculty of Art & Design at Manchester University in 2000.Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Edward Emerson - A 20th century watercolour painting of a young girl standing outside a large church door. Signed by the artist to the corner. Framed and glazed. Measures 60cm x 76cm.

Frank Mole - Polperro - Bristol Savages - A mid 20th century watercolour painting of a harbour with boats floating on the harbour. Framed and glazed. Measures 48cm x 58cm.

Tony Warren (British 20th century) Watercolour painting of a sailing boat at night, Signed and dated 1985. Together with by Terry Bailey entitled ‘Early Summer of the Fowey ‘and another watercolour of sail boats at low tide by M Reaud. Measures approx: 55cm x 68cm.

An early 20th century watercolour painting of a highland scene. Unsigned, together with another landscape scene by BJ Cannon featuring a pond / lake. Both framed. Measures approx: 44cm x 50cm.

A 20th century Continental watercolour painting. The painting signed with indistinct signature together with an oil of a sail boat at night by Jack Russell and others. Measures approx: 35cm x 46cm.

Jack Crosland 'Honley, West Yorkshire', and 'Church Street Honley West Yorkshire', pastel, signed lower left, framed and glazed, 37cm x 45cm together with a print of the north front of the Divinity School, possibly Oxford; an unsigned watercolour of a ship in distress at sea and an embroidered tapestry panel of a floral wreath, 60cm x 51cm (5)Condition report: Crosland painting in good condition; print in good condition; watercolour rather discoloured with marks to the upper third of the picture; tapestry panel faded and worn particularly to the edges

A collection of pictures and prints to include a Chinese painting on rice paper depicting butterflies and a rose, 19cm x 28cm; three reverse glass pictures, F.W. Morgan Wells cathedral, watercolour, 25cm x 18cm; a farmyard scene, watercolour, indistinctly signed, 34cm x 23cm and four further printsCondition report: At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a full condition report

Cartoon painting watercolour signed R Riley

Three various artworks to include etching titled 'Loch Tay' by H.M. Pembuton, Watercolour depicting landscape by Philip Brewerton and oil painting depicting river and mountain landscape by H Bennett.

A Japanese Meiji period scroll painting depicting 27 various male figures in 3/4 length portrait pose with lines of script below, watercolour on paper, approx 198x26cm

A Japanese Meiji period scroll painting depicting lady & gentleman seated on a bench, watercolour on paper, approx 208x108cm

RAY BURNELL: "St Brides Bay" (Pembs), framed and glazed oil painting, 9.5cm x 14.5cm, together with ROSE PRICE: "Late Spring Border", framed and glazed watercolour, 18.5cm x 13cm (2)

French School: 15th century."The Virgin and Child in the Manger".Watercolour on parchment.It has humidities that have caused wear and pictorial losses.Measurements: 15 x 11,5 cm.This work is arranged on a page that belongs to a Horarium, also known as the Book of Hours, a type of illuminated manuscript that became popular in the Middle Ages, with religious content. On the page there is a section containing the devotional text, located below the painting showing the Christ Child and his mother in the manger after his birth. The figure behind the Virgin, who is also nimbus-covered, appears to be a representation of Saint Anne, the Virgin's mother, as can be deduced from her feminine clothing and the wrinkles that furrow her cheeks. In this representation of the Holy Family, the presence of the ox indicates that the first moments of the life of Jesus are represented, located in a manger that opens to the exterior and reveals a landscape of greenish and bluish tones. It is worth noting the ornamentation that frames both the image and the text, which stands out for its ornamentation.These works are known as illuminated codices, which were handwritten and illustrated books that were produced in the scriptorium or specialised workshops of the monasteries by monks with great artistic and doctrinal qualifications for the monasteries themselves, the churches and the kings.

An oil painting of a cottage by a river, another oil painting by Robert Cox, and a watercolour of St Mary’s Lighthouse

Jackson Page (20th century), a river scene with bridge and boathouse with a bucolic landscape to the reverse, oil on board, signed 'J Page', 44 x 60cm; together with five reproduction Bonnard coloured lithographic prints approx 40 x 30cm; an ethnographic painting of dancing tribal figures, paper mounted to board, 73 x 104cm, and Jim Mills, two figures, signed and dated 'J M 94' (lower right), watercolour on paper, 15 x 10cm; Jim Mills, an abstract figure, signed and dated, 'J M 96' (lower right), watercolour on paper, 9.5 x 9cm; together with, two other landscapes by C.H Edefson, watercolour on paper, 21 x 27cm,

JOHN LIMBREY (BRITISH 20TH CENTURY), a Cotswold village scene, possibly Chipping Camden, signed bottom right, watercolour on paper, approximate size - 29cm x 26cm, painting is in good condition

Robert Walker Macbeth RA RI RPE RWS (Scottish 1848-1910), Come Home, watercolour, inscribed Sketch lower left and indistinctly signed, dated 1896 (28cm x 42cm). Note: this painting appears to have been a preparatory sketch for Return of a Whaler, see Anderson & Garland, Newcastle lot 715, 4th December 2019

20th century oil painting on board, double sided. Glass fishing floats on one side, mixed media abstract figure verso. 94.5 x 63.5 cm. Together with selection of framed pictures, tapestries and prints. The Breakfast Tray, labelled watercolour verso, by Sandra McCabe (1943-2020), f&g. Signed. Gallery label verso. 29 x 44.4 cm.

A mixed media painting, Tom Dearden, Disco Dancers, stylised, signed and dated 1989 and attributed verso, 20 x 37cm Materials used Watercolour and colour tape, some tape lifted

Martin Hardie: 'Watercolour Painting in Britain - The 18th Century - The Romantic Period - The Victorian Period', 3 volume set published by Batsford, uniform original cloth, dust wrappers, plus one other art volume (4)

* ANNA DIXON RSW (SCOTTISH 1873 - 1959),A RURAL SCENEwatercolour on paper, signedimage size 27cm x 38cm, overall size 45cm x 57cm Mounted, framed and under glass. Label verso: John Mathieson & Co., Edinburgh.Note: A Scottish born artist, who studied at the RSA Life School in Edinburgh under E A Walton, Charles Mackie and William Walls. Anna Dixon had an easy, fluent style and specialised in oil and watercolour studies of birds, flowers and figures in landscape. She visited France regularly, and especially enjoyed painting at Concarneau in Brittany, as well as among the crofting settlements of the West coast of Scotland. She exhibited prolifically for 64 years, showing 94 works at the Royal Scottish Academy from 1894-1958, 98 works at the Royal Scottish Society of Painters in Watercolours, 107 works at the Royal Glasgow Institute of the Fine Arts, from 1904-1958, 2 at the RA 1906-7 and also frequently at the Aberdeen Art Society between 1898-1935. Anna Dixon was elected RSW in 1917 and was President of the SSWA from 1930 –1942.

WILLIAM MARSHALL BROWN RSA RSW (SCOTTISH 1863 - 1936),BOATS IN LOCKwatercolour on paper, signed and titledimage size 36cm x 55cm, overall size 53cm x 72cm Framed and under glass.Note: William Marshall Brown was born on the 3rd January 1863 and was educated in Edinburgh. He studied art at the Royal Institute, Edinburgh and the Royal Scottish Academy Life School. He was awarded the Chalmers Bursary and Stewart Prize in 1888 and was elected an Associate of the Royal Scottish Academy in 1909 and a full Member in 1928. He was also made a Member of the Royal Scottish Watercolour Society in 1929. He painted in Scotland, Holland and France and much like the Glasgow Boys he often worked in Cockburnspath and the surrounding area of East Lothian and Berwickshire. Marshall Brown's painting technique in both oil and watercolour was broad and lively. His subject matter was often windswept beaches with workers or sand dunes with children. His work was popular and remains so, with numerous examples of his paintings achieving strong bidding at auction in recent years. William Marshall Brown died on the 26th April 1936. Nineteen of Marshall Brown's paintings are held in Scottish and English public collections.

DAVID FULTON RSW (SCOTTISH 1848 - 1930),THE MORNING AFTER A STORMwatercolour on paper, signedimage size 29cm x 44cm, overall size 53cm x 65cm Mounted, framed and under glass.Note: David Fulton is best known for his charming figurative paintings and landscapes, executed in a loose and broad manner with a mesmerizing colour palette. Fulton established an international reputation as a skilled painter of children and pastoral scenes. His subjects were depicted in rural settings, often woodland or pastures abundant with flora and fauna. Fulton was born in Parkhead in the East End of Glasgow, and showed great artistic ability from a young age. He studied painting at the Annfield Academy and later became a student at the prestigious Glasgow School of Art, where he won numerous awards for his paintings. Fulton exhibited at many principal galleries in Scotland and London from 1884 onwards. Fulton was one of the earliest members of the Glasgow Art Club. He was elected to the Royal Society of Watercolour Artists in 1891 and also exhibited frequently at the Royal Academy in London.

Mabel Amber Kingwell (1890 -1924), watercolour painting of dogs, dated 1922, 22cm x 20cm, framed and glazed.

Henry John Kinnaird (1861-1929)'Shepherd and flock within a landscape', Salisbury, Wiltshire, watercolour, signed to lower right, framed and mounted, labelled verso 'Landscape, 9.25/2. Kinnaird', with Boots framing label,overall 34 x 43cm, visible painting 18 x 27.25cm approximatelyCondition: Unexamined out of frame, appears good condition, frame with some dents, splits and damage.

A military watercolour, circa 1809-12, depicting the battle honours of the 76th Regiment of Foot, the latest of which being 'Peninsula', the watercolour with the inscription "this gurrah (muslin cloth) was captured in the Indian campaign under Lord Lake", September 1803, measurements 40 x 50 cm (i), frame 51 x 61 cm. Notes: The 76th Regiment of Foot was employed in India in 1788 to fight in the third Anglo-Mysore war, seeing action at the Siege of Bangalore in 1791 and in the famous Siege of Seringapatam of 1792 against the Tipu Sultan, aka the 'Tiger of Mysore'. The regiment later saw service in the Second Anglo-Maratha War and fought at the Siege of Aligarh, a fort that was commanded by the French mercenary officer Pierre Perron. During the battle, the British lost as many as 900 soldiers to the stiffly defended fortress, which was guarded by French artillery, a 14-ft ditch lined with sword blades, poisoned chevaux-de-frise barricades and even lions and tigers. The regiment went on to fight at the Battle of Delhi in September 1803 and the Battle of Laswari in November 1803. For their distinguished service in these actions, King George III authorised the regiment to have the word 'Hindoostan' emblazoned on their regimental colours alongside an elephant badge with a howdah. The regiment returned to England and became the 76th (Hindoostan) Regiment of Foot in October 1806. During the Napoleonic Wars, the regiment was dispatched to Spain and fought in the Siege of Corunna in 1809 before being evacuated from the Peninsular later that same month. The Regiment later reverted its name back to the 76th Regiment of Foot, which combined with the battle honours listed, dates the painting of this watercolour, on earlier captured muslin cloth, to circa 1809-1812.

Frank Watson Wood (Scottish, 1862-1953) watercolour, a view of two warships at sea with a third warship in the background, depicting the HMS Achilles (Warrior Class), the HMS Defence (Minotaur Class) or the HMS Drake (Drake Class) funnel cruisers, signed and dated 1921 to the lower right-hand side, framed and glazed, overall dimensions including frame 84cm wide 47cm high, painting measures 69cm x 32.5cm *Please note that this lot may be subject to Artist Resale Right.

Naive School watercolour painting of a river with bridge and fisherman, framed under glass 39 x 29cm

Antique watercolour 1818 - Approx. image size 35cm x 25cm Antique Water colour painting circa 1818, the painting is framed and marked up as belonging to Leightons Studio.Leighton House was designed and built in 1865-6 by George Aitchison RA for his friend, the great Victorian artist and later President of the Royal Academy, Frederic, Lord Leighton (1830-1896). Progressively adapted to suit Leighton's specifications over the thirty years he lived here, the building includes a north-facing working studio with a picture slot for transferring Leighton's larger works - in its day, one of the sights of London. However, the house was also intended to be a showcase for Leighton's artistic taste, and for his extensive art collection, which included works by Corot, Millais, George Frederic Watts and Lawrence Alma-Tadema. The highlight remains the extraordinary Arab Hall (1877), which reflects Leighton's fascination with the Middle East along with his major collection of fifteenth-century Damascus tiles.Leighton House has been open to the public since 1929, and is situated alongside a number of other studio-houses that were built during the second half of the nineteenth century. Together, these demonstrate the wealth, status and taste of some of the most successful late-Victorian period artists. Though none are still available to visit, Leighton House runs regular tours of the area through the Holland Park Circle.

John Riley (1938-2012) Large modernist abstract watercolour & gouache painting signed & dated 1984.  Frame size approx 22 ½  x 19 ½ inches (Glazed)

Haensgen-Dingkuhn, Elsa. 1898 Flensburg-1991 Hamburg"Das Geigen-Solo" (Musikkapelle im Etablissement). 1920er/ 30er Jahre. Aquarell über Bleistift, li. u. monogr. "E.H.D.", betitelt in der Darst. li. unt. Ecke. Einzelpartien schwarz verfärbt. Auf Untersatz mont., 29,5 x 22,5 cm. Hinter Glas gerahmt. Die an der Flensburger Kunstschule bei Prof. Wedding und an der Kunstgewerbeschule Hamburg bei A. Illies, J. Wohlers und J. Bossard ausgebildete Malerin war seit 1923 mit dem Maler Fritz Dingkuhn verheiratet. Während sie nach der Geburt ihrer zwei Kinder v.a. durch Kinderbildnisse bekannt wurde, ist vorliegendes Aquarell aus der Frühzeit ein Beleg dafür, dass sich Haensgen-Dingkuhn als junge Malerin auch mit der Stilrichtung des Expressionismus auseinandersetzte. Haensgen-Dingkuhn, Elsa. 1898 Flensburg-1991 Hamburg "The violin solo" (music band in the establishment). 1920s/ 30s. Watercolour painting over pencil, monogrammed on lower left "E.H.D.", titled in the depiction on lower left corner. lower corner. Single parts discoloured in black. Mounted on a backing, 29,5 x 22,5 cm. Framed behind glass.

Clemens Weiss / Konrad von WürzburgDie Klage der Kunst. Prosa und Malerei. JUNI-Verlag Mönchengladbach 1990. Zweisprachig (dt./engl.) mit Originalmalerei Wasserfarben/Tusche auf Bütten. Exemplar 76/100. Pappeinband und -schuber. 4°. Guter Zustand, Malerei vereinzelt etwas wasserrandig. The complaint of art, prose and painting, watercolour and ink on paper, copy 76/100, slip-case, good condition, partially waterstains

19th Century European School 'Rheinam Bridge, Lake Zurich', watercolour painting, extending over two pages of a sketch book 9cm x 33.5cm (together) gilt framed & mounted (see on reverse, 'Castle Gallery, Kenilworth' label)