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RON DAVID DIGBY “Falcon and grouse”, a study of the kill by rock face, watercolour, heightened with white (presumed signed though painting slipped in frame so signature not visible), inscribed on “Sladmore” label verso “….. Falcon and grouse….. Bird Artists of Today XEX 1st March-15th March 1972), watercolour gouache, 15” x 18”, 44.5 cm x 37 cm CONDITION REPORTS Colours are good. Is stuck down. Small rip to the bottom right hand corner. Had slipped in frame so has now been removed. General wear and tear conducive with age and use. See images for more details.

FRAMED OIL PAINTING OF A COTTAGE SCENE, F/G VICTORIAN PRINT BEACH SCENE BY HUBERT CORNISH ESQUIRE & A F/G WATERCOLOUR OF A SHORELAND SCENE OF SAILING BOATS

3 BOTANICAL PAINTINGS; ONE A WATERCOLOUR STUDY OF APPLE BLOSSOM IN GOOD OAK FRAME, ANOTHER OF ROSES IN A VASE, INDISTINCTLY SIGNED, AND AN OIL PAINTING ON BOARD OF FLOWERS

This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.A hand-painted artwork of a Rebel defence DF.9 turret, signed by Alan Tomkins, from Irvin Kershner's Star Wars: The Empire Strikes Back.This watercolour painting was created after the production of The Empire Strikes Back by the film's art director Tomkins, who worked from the original designs by conceptual designer and illustrator Ralph McQuarrie. It shows a Rebel Defence DF.9 laser cannon turret on the icy terrain of the planet Hoth. There is a printed note accompanying the piece, also signed by Tomkins, which gives details about the artwork and how he was part of the crew during shooting in Finse, Norway. The artwork is mounted within a grey card frame and displays a tiny hole near the left edge. Dimensions: 30.5 cm x 40.5 cm (12" x 16")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £300 - 500 M

This lot will be auctioned on Thursday, November 11th. The auction will begin at 3:00pm BST and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on November 9th or November 10th.A hand-painted artwork of an Imperial Probe Droid, signed by Alan Tomkins, from Irvin Kershner's Star Wars: The Empire Strikes Back.This watercolour painting was created after the production of The Empire Strikes Back by the film's art director Tomkins, who worked from the original designs by conceptual designer and illustrator Ralph McQuarrie. It shows an Imperial Probe Droid landing on the icy terrain of the planet Hoth. There is a printed note accompanying the piece, also signed by Tomkins, which gives details about the artwork and how he was part of the crew during the shooting in Finse, Norway. The artwork displays minimal wear, with some very minor marks near the bottom edge. Dimensions: 30 cm x 40 cm (11¾" x 15¾")Sold without copyright; see copyright notice in the Buyer's Guide. Estimate: £300 - 500 M

A FOLK ART NAIVE WATERCOLOUR PAINTING ENGLISH SCHOOL, C.1840 depicting a boy sporting a black together with a young girl with a basket of roses, accompanied by their old English sheep dog, in a glazed bird's eye maple frame 25.9 x 20.9cm Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

λ A FOLK ART NAIVE WATERCOLOUR PAINTING C.1840-50 depicting a family in an interior setting, with a father and mother seated with their four daughters, two holding sheet music, one a flower the other a kitten, before a large window with a view of the garden with a trellis and an adjacent Georgian house, in a glazed rosewood frame 28.7 x 32cm Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

A FOLK ART NAIVE WATERCOLOUR PAINTING POSSIBLY SCOTTISH, C.1830-40 depicting a family in an interior setting, with a mother seated on a Regency chair, with two young girls wearing tartan dresses and holding baskets of flowers and fruit and with an older girl with a book, in a glazed mahogany frame 24.9 x 33.1cm Provenance Upper Slaughter Manor, The Collection of Micheál and Elizabeth Feller.

A watercolour painting by Julian Gregg titled to reverse: “St Mary’s Redcliffe”, signed, 15½” x 11¾”; together with four large coloured prints, each in glazed frame.

Impressive large mid 19th century watercolour on ivory in gilt oval frame The Jami Masjid Mosque, Delhi, India, 18.2cm overall width. A similar painting on ivory is held in the Victoria & Albert Museum

SIR HUBERT VON HERKOMER R.A. (BRITISH 1849-1914), 'The Gateway, Tunis', African and Northafrican figures and donkeys before an impressive stone arch entrance to Tunis, signed and dated (18) 79 bottom left, Southgate Gallery label verso dated 1979, watercolour on paper, mounted, framed and glazed, size approximately 50cm x 35cm (2) (condition: painting in good condition, small marks to the frame)

VINCENT JANSZ VAN DER VINNE (1736-1811), an Italianate landscape with travellers on foot and horseback, goatherd to the foreground, signed verso, watercolour on paper, size approximately 32cm x 45cm, mounted framed and glazed (condition: painting appears to be in good condition aside from a scuff to the top left corner and some yellowing to the paper)

*ADRIAN HILL (1895-1977) 'The Black Line, Oppy Sector, 1918' First World War trench scene with two soldiers surveying the field, signed, titled and dated lower left, watercolour and ink, 29cm x 43cm.Adrian Hill was a British 20th Century artist who was most famous for his work as a war artist and his pivotal role in the creation and promotion of art as therapy. He studied at the St. John's Wood Art School and later at the Royal College of Art, going on to teach at the Hornsey School of Art and Westminster School of Art. Hill was elected President of the Royal Institute of Oil Painters in 1968 and his art style combined elements of impressionism and surrealism. He served in the Honourable Artillery Company during World War One, the first artist to be commissioned by the Imperial War Museum to record first-hand conflict on the Western Front. During a period of convalescence whilst suffering from tuberculosis he began to teach drawing and painting to other patients, including injured soldiers and was instrumental in setting up an art programme as art therapy for patients. He also set up a scheme with the British Red Cross to lend copies of famous pictures to hospitals and organised a lecture series, as well as writing many books about painting and drawing, and in the 1950s and early 1960s presented a BBC children's television programme called Sketch Club

W STUART LLOYD RBA (fl. 1875-1929) large exhibition quality watercolour - Conwy Castle, Town and Quay with numerous trawlers and figures (three of the trawlers' hull names are 'Charlotte', 'Victoria' and 'Nancy'), signed, 75 x 125cms Provenance: private collection Conwy Auctioneer's Note: please be aware that the painting remain at the Colwyn Bay saleroom during the auction Comments: with original mount and quality substantial gilt frame, no obvious foxing or other issues

SIR KYFFIN WILLIAMS RA pencil and watercolour - fine example with four standing horses, entitled verso on Thackeray Gallery label 'Horses in the Snow', signed with initials, 34 x 49cms Provenance: Thackeray Gallery label with purchaser details and date of purchase as 1998 Comments: a very fine example in Bourlet frame and glass Please note that this lot may be subject to Droit de Suite at 4% of the hammer price (Please see terms / enquire)There are a few sections at the edge of the painting (see photographs) where the mount is slightly raised.The painting otherwise looks excellent, I could not see any damage professionally framed ready to hang.

oil on canvas, framed, signed lower right; verso: 'by Ba Nyan', 'PAGODA RANGOON' '19.3.31' 'OIL PANTING'22cm x 30cmProvenance:Deceased estate of a Glasgow gentleman and collector of Asian Art, acquired in 1995.Tom Bell Fine Art, Troon, Scotland, purchased from John Green Fine Art, 182 Bath Street Glasgow in October 2017.Footnote: Note: John Green Fine Art Glasgow did not show the work in his gallery at any time and the current owner spotted it in his safe; the painting was then purchased upon Green's retirement in October 2017.U Ba Nyan was one of the most important artists in Myanmar during the twentieth century, most well-known for his western Academic style. Born in Pantanaw in 1897, Ba Nyan showed a proficiency in the arts at an early age and studied under Po Maung for four years before being noticed by local officials who supported him in studying at the Normal School.At the age of 24, Ba Nyan became the first Burmese artist to study at the Royal College of Art in London, with the support of the Burma Art Group, a prestigious institution that supported young Burmese artists with great promise. During his time in London, he developed his signature Academic style, which when he returned to Myanmar in 1925 awarded him great prestige and renown. Working in oil painting, Ba Nyan received many important commissions from notable clients such as Sir Paw Htun, Sir Ba Oo and Shan saophas. Though U Ba Nyan had drawn many paintings depicting the landscapes and lifestyles of Myanmar, most of them were bought by the British and lost during World War II. Few of his paintings can be found today.In 1939, he became principal of the Art School for Myanmar students; then in 1944 he led a group of artists that opened the Institute of Art, becoming the principal of the academy. His role was such that many younger Burmese artists were influenced by him: Thein Han and Ba Kyi were both prolific and important artists who studied under Ba Nyan. During this period, the war-time prime minister of Burma, U Ba Maw, presented two of Ba Nyan's paintings to the Japanese Prime Minister, and a third painting to Emperor Hirohito, illustrating the great international acclaim the artist had achieved.Paintings by Ba Nyan remain rare and highly collectable, with a watercolour of an elephant monument sold for £9,500 and one of the Shwedagon Pagoda sold for £5,500 in 2019 at Grand Auctions in Folkestone, England. His works remain in important international public and private collections such as A Buddhist Monastery in the National Museum of Myanmar, and At the Jetty in the Singapore Art Museum.

JOHN PALEY: Watercolour entitled "A Countryman's Year", taken from the original painting from the book by John Humphreys, signed lower left, 26cm x 52cm

Cescinsky, Herbert and Webster, Malcolm R: English Domestic Clocks, published London 1916, b/w illust from drawings and photographs by the authors, half calf, Holme, Geoffrey ed by: British Watercolour Painting of Today, published The Studio 1921, half calf, Smith, H Clifford: Catalogue of English Furniture and Woodwork Vol II Late Tudor and Early Stuart published London 1930, Honey, William Bowyer: European Ceramic Art from the End of the Middle Ages to about 1915, published London, ltd ed 158/250, and Sheraton, Thomas: The Cabinet-maker and Upholsterer's Drawing Book, published London 1794 with engraved plates and errata sheet, 5vols

* 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.

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.

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.

* MADELINE RACHEL WELLS RBA (BRITISH 1879 - 1959),THE PALACE OF THE POPES, AVIGNON (PALAIS DES PAPES, AVIGNON)watercolour on paper, signed, titled label image size 50cm x 65cm, overall size 85cm x 100cm Mounted, framed and under glass.Note: Born in India, Madeline Wells studied at Westminster Art School under William Mouat Loudan (1868 - 1925), and at the London School of Art under Sir Frank Brangwyn. She married the artist Robert Douglas Wells, who specialised in landscape and still life painting. They lived in London at St. Albans Studios in Kensington. Madeline Wells became a member of the Royal Society of British Artists in 1915 and was elected a member of the Society of Women Artists in 1923. She exhibited widely over a period of more than thirty years at prestigious venues including The Grosvenor Gallery (London), the Royal Academy and the Walker Art Gallery in Liverpool. Examples of Madeline Wells paintings rarely appear at auction but Christie's (London) sold "Labours of the Vine" by her on 18th November 2015 (lot 413) for £6250 (premium).Listed as a World Heritage Site by Unesco, the Popes' Palace is one of the 10 most visited monuments in France with 650,000 visitors per year. A true symbol of the influence of Western Christianity in the 14th century, this 15,000m2 masterpiece of a monument is the largest medieval fortress and biggest gothic palace of Europe. Built in less then 20 years starting in 1335, the Popes' Palace is the amalgamation of two palaces built by two popes: Benedict XII, who built the Old Palace to the east and north, and his successor Clement VI who built the New Palace to the south and west. In the 14th century, the Popes' Palace was occupied by 7 popes and 2 popes of the Papal Schism before the return of the papacy to Rome. Occupied by the Legates and Vice-Legates starting in the 15th century then transformed into a garrison until 1906, it has undergone various restoration work since. Most recently, the Trouillas Tower has regained its past appearance. The tower houses the 11 stories of the Departmental Archives and its height of 52 metres makes you dizzy as you look up at it from the terrace of the Utopia Manutention Cinema. Offering countless and incomparable riches, as much architectural as pictorial, the Palace plunges visitors into the heart of the splendour of the papal court. A good hour is needed to discover the more than 25 rooms open to the public: the ceremonial halls, the courtroom, the consistory, the chapels with their magnificent frescoes by the famous painter Matteo Giovanetti and the popes' private apartments.

ATTRIBUTED TO JOSEPH NOEL PATON FRSA (SCOTTISH 1821 - 1901),THE PAINTING LESSONwatercolour on paper, titled label versoimage size 26.6cm x 53cm, overall size 52cm x 80cm Mounted, framed and under glass.Label verso: Laurence Oxley, Alresford.Condition report: Condition is good overall, with no visible signs of restoration, damage, or known issues. 

signed and dated lower right Andy Wood '80 pencil and watercolour 25 x 35cm. / 9¾ x 14in. Exhibited: New English Art Club, Autumn Exhibition, 1980 Literature: The Art Magazine, Vol, 10 No. 4 Winter, 1981 reproduced in colour page 21 with the following quote from the artist: 'I want to make the observer aware that it is a painting and an illusion, not a trompe l'oeil, more like a TV picture or a photograph. I am trying to show the specialness in ordinary things or at least the specialness I see in them.' Provenance: John Constable Collection; comment from the artist to John Constable |The shop depicted is in Exeter.|

Thomas Bush Hardy RA RBA (British 1842-1897) Boulogne Pier, signed bottom right and dated 1882, watercolour, measurements 44 x 66 cm, frame 67 x 88 cmCondition report: The painting is a watercolour on paper, framed under glazing- not examined external to the frame. The sheet has an 8 cm vertical tear to the lower left, a tear with branches measuring 5.5 cm top left, there are repairs to the paper to the lower left area (see additional photographs) with losses. There is a repair with a loose piece to the lower right edge and a smaller tear to the right corner edge as well as a repair lower right. It is titled and signed lower right. There is a repair to the sail of the ship on the right and some roughness to the surface uppwer right. There is a small stain to the centre- right of the white sail boat. Some fading present. Wear and tear to the frame including surface losses.

Frank Wasley (1848/54-1934) Venetian Scene, signed lower left, watercolour, measurements 24 x 43 cm, frame 38 x 57 cmCondition report: Painting appears good with no obvious defects.  Frame showing some signs of age with small chips/losses to the gesso and evidence of retouching in places.

Myles Birket Foster RWS (British 1825-1899) A rural harvesting scene with children beside a pond, haymakers and cart beyond, artist stamp B.F. bottom right, watercolour, measurements 17.5 x 13.5 cm, frame 44 x 39 cmWalker Gallery Label versoCondition report: The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears well preserved, with no obvious signs of rips, creasing or folds and there are no obvious signs for deterioration. The paint has some fading to the background, but the surface appears well preserved with no obvious signs of paint loss. The bottom right has initials BF in a cartouche. The frame has solid joints and has some minor general wear and tear- one area of surface loss to the bottom right.

ANONYMOUS, 19th centuryThe Battle of XiaoInk and watercolour on silk, inscribed with a narration about the battle, mounted on silk and framed. The painting, 80cm (31 1/2in) x 82cm (32 1/4in).Footnotes:十九世紀 晉敗秦師於殽圖Provenance: Max Morris (1910-2017), acquired in China in 1957, and thence by descent來源：Max Morris（1910-2017）舊藏，於1957年購自中國，並由後人保存迄今Max Morris was born in London's East End to Russian immigrant parents. In his youth, he began working in his family's shoe business, P.Morris & Sons based in Shoreditch High Street. He served in the RAF during World War Two, as a French interpreter for air support crews in France, reaching the rank of sergeant. In August 1957, Morris was part of a small trade delegation to China with the aim of fostering better understanding and trade between China and the UK. During this time, he visited some artists' studios and acquired paintings, some of which were later exhibited at the Herbert Art Gallery and Museum, Coventry.In the 1980s he taught English at Toynbee Hall to primarily immigrants and was an active patron of the arts and charities. Two days before his 106th birthday he was awarded the British Citizen Award for his charitable work in a ceremony at the House of Lords on 7 July 2016.The battle of Xiao (627 BC) was a battle between the states of Qin and Jin during the Spring and Autumn period, in an area between the Yellow and Luo rivers, in modern-day Henan Province. The Jin defeated the Qin and solidified its position as the most powerful state in north China for several decades. The Qin suffered a significant loss of about 30,000 men. In time however, the Qin would eventually build their strength again to unify China. The battle was recorded in the Zuozhuan (The Commentary of Zuo).For further information on this lot please visit Bonhams.com

Three watercolours of Frinton on Sea, Paignton Pier and Shingle Street by Douglas Myers, each sheet 15cm x 20cm, together with a vintage watercolour of fishermen mending nets, and an oil on wood painting of trees

A fine mid 18th century French fan, 28.5cm, with pierced ivory and mother of pearl guards and sticks, the well painted paper leaf with watercolour scene of artist painting a portrait surrounded by classical figures, marked Aelle Peint La Matresse d'Alexandre, the reverse with figures in landscape, overall in good condition and typical wear and damages for its age, guards repaired

ATTRIBUTED TO JACK SPURLING (BRITISH, 1871-1933) Clipper in a gentle swell Watercolour 11½ x 15½in. (29.5 x 39.5cm.); together with another watercolour of a windjammer on a port reach, signed and dated 'S. Drigin / 57.' (lower right) -- 14½ x 20¼in. (37 x 51.5cm.) (2)Condition report: Follower Spurling: Time stained Drigin: Large repaired rip in the centre of the painting. Some water staining

Contemporary Parisian scene Oil Painting, 50cms x 60cms, framed together with F Cooper Oil Painting of a Flying Swan, Chris Woods Print titled Old Acquaintance and a Small Watercolour

Small framed vintage watercolour painting, no signatures, approximate measurements: 13 inches by 6.5 inches

ALFRED JOHN BILLINGHURST, R.B.A (1880-1963) 'St. Marks Square, Venice' (featuring the column of San Todaro) Watercolour painting, 52cm x 34cm, signed, gilt framed, mounted and glazed

ANTHONY BRANDENBURG 'St. Nicholas Spire' (Warwick Castle as seen from across the river) watercolour painting, signed and dated (19)97, 45cm x 35cm, framed, mounted, & glazed (see exhibition label to reverse)

MID 19TH CENTURY ENGLISH SCHOOL 'Banqueting Hall, Kenilworth Castle', pencil drawing, inscribed and dated 1849, 21cm x 26.5cm, gilt framed, mounted, and glazed, together with a watercolour painting of the same scene 21cm x 26.5cm, similarly framed, with a different coloured mount (2)

signed (lower right), pen, ink, and watercolour on paper41cm x 29cm (16in x 11.5in)Footnote: Béla Kádár was a Hungarian painter and one of the most famous painters of the Hungarian avant-garde whose paintings reflected many of the leading artistic movements of the early 20th Century including Der Blaue Reiter, Cubism, Futurism and Metaphysical painting. Like other artists of his day he had been drawn to Paris and Berlin in 1910 to study, before permanently moving to Western Europe in 1918. By 1923 he had his first significant exhibition in Berlin at the invitation of Herwath Walden, who was a significant figure in the German avant-garde being publisher of Der Sturm magazine which featured the works of Paul Klee, Wassily Kandinsky and Marc Chagall amongst others. During this exhibition Kádár met Katherine Dreier whose Société Anonyme was central to bringing the work of the European avant-garde to America, and as a result by 1928 he had held two exhibitions of his work at the Brooklyn Museum of Art in New York.

§ § William Black (British 20th century) Grey Coast signed and dated 'William Black 66' (lower right); inscribed with title (lower left) watercolour and gouache11.5 x 37cmCondition report: Not examined out of the frame. Some debris beneath the glass, but this is confined to the mount and does not interfere with the actual painting. The image appears to be bonded to the support, which is displays some slight undulation, along each edge. The image itself is in generally good order. There is some slight discolouration to areas which have not been painting, some pilling to the lower edge and some very minor paint loss to the top right hand edge.

§ § Claude Muncaster RWS, RBA, SMA, ROI (British 1903-1974) On the edge of the Blue Mountains, Jamaicasigned 'CLAUDE MUNCASTER' (lower right); artist's label to the reverseoil on canvas100 x 116cm Exhibited: London, The Federation of British Artists, Miami Exhibition (3)Footnote: An enthusiastic sailor, Lieutenant Commander in the Royal Naval Volunteer Reserve and one of the principal maritime painters of the 20th century, Claude Muncaster was born Grahame Hall, in West Chiltington, Sussex, in 1903. The son of noted Landscape painter, Oliver Hall RA, Muncaster was tutored in painting from a young age, and, whilst the pair shared an aspiration “to carry on the best traditions of English painting”, in 1922 Muncaster changed his name to avoid any suggestion that his nascent career was indebted in any way to his father’s reputation. First exhibiting at the Royal Academy in 1921, Muncaster held his first solo exhibition in 1926 at the Fine Art Society, became a member of the Royal Watercolour Society in 1936 and was appointed President of the Society of Marine Artists in 1939. Drawn impulsively towards the sea and aiming to ‘paint ships and the sea with greater authority’, Muncaster spent the 1920s and 1930s sailing around the world as a deckhand. In his sketchbooks and notepads, Muncaster documented all aspects of nautical life, from the ferocious storms and rugged shipmates to the lucent sunsets and balmy, tropical evenings. During the Second World War, he served in the Royal Naval Volunteer Reserve, working as a navigator between 1940 and 1944, before being appointed as a naval camoufleur.Condition report: The canvas is in plane, but the tension is a little slack. There is some embedded dirt evident in the sky and clouds on the top left hand edge (see images) and a small hole in the canvas along the right hand edge. There are some minor surface accretions, very fine cracking to the paint layer in isolated areas, some yellowing to white passages of paint and some overall surface dirt. Otherwise in good order.

Albert Moulton FOWERAKER (1873-1942)Lelant Beach, CornwallWatercolourSignedWorth's Art Gallery, Exeter label to verso23.5 x 27.5cmCondition report: This delightful atmospheric watercolour has not been examined out of the frame and because of the nature of the work it is hard to decide if it is likely to have faded. There is no obvious foxing, but again because the painting is dark it is hard to see if it is foxed.

Circle of M V Dhurandhar Fine Watercolour Depicting the Exterior of an Indian Surgery in the 1920s; unsigned watercolour from circle of M V Dhurandhar at the Sir J J School of Art, Bombay (Mumbai); very rare and interesting scene of social history, finely painted on paper, fixed to a contemporary board, good definition throughout and with vibrant colours; dated to reverse 20/6/23; framed and glazed, painting size 15 inches (36cms) x 21.5 inches (54cms) NB: Vendor indicates the previous owner stated the painting was specially commissioned, along with two others, by an Edinburgh doctor, from whose family he acquired it, in 2009, when working as a missionary in India, Along with the 1923 date to the reverse, the painting is indicated to be one of three,

A FRAMED AND MOUNTED WATERCOLOUR PAINTING SIGNED BY DOROTHY JACOB

WATERCOLOUR AND OIL PAINTING

Chinese watercolour painting on silk of a lady reclining on a day bed, signed with calligraphy and seal marks, 22.5cm x 17.5cm; also another smaller painting of a sage and his acolyte, 6.5cm x 11cm.  (2).

Early 20th century watercolour painting on velvet depicting Sydney Harbour Bridge at dusk, with shipping beneath, inscribed with title, 31cm x 44cm (oval), 36.5cm x 46cm overall.

Oriental watercolour painting on silk of a crouching leopard in a landscape, 40cm x 35cm, laid on paper; also three other Oriental paintings and three scrolls.

Chinese watercolour painting on silk of a finch amongst flowering prunus and magnolia entwined with character marks and printed red seal mark, 53cm x 27cm and a set of four other watercolours on silk depicting birds amongst flowers with character marks and seal marks, each 19cm x 21cm.  (5).

AN ALBUM OF FIFTY-NINE WATERCOLOUR PAINTINGS OF SIKH SUBJECTS, INCLUDING MAHARAJAH RANJIT SINGH, MONUMENTS INCLUDING THE GOLDEN TEMPLE AT AMRITSAR AND THE TOMB OF RANJIT SINGH, AND NUMEROUS TRADESPEOPLE AND ENTERTAINERS PUNJAB, circa 1850-60watercolours on paper, endpapers watermarked 1865, all with English identifying inscriptions, probably contemporary and local brown leather binding with floral motifs 285 x 210 mm.Footnotes:ProvenanceA. Kerr, 1868, a gift from a Captain B. Smith (partially indistinct pencil inscription in front endpaper).Private UK collection.For similar albums, apparently often acquired by British visitors to the Punjab, see the sales in these rooms, Bonhams, Islamic and Indian Art, 30th April 2019, lot 212; 26th October 2020, lot 268; 30th March 2021, lot 124; and various other instances of single paintings or groups of paintings from dispersed albums.There is one less painting than the sixty which is standard for this type of album.The subjects of the paintings are as follows, in order:Maharajah Ranjit Singh, 'ex-King of Lahore', and Maharajah Kharak Singh.Maharani Jindan Kaur, and Maharajah Duleep Singh.Rajah Dhian Singh, and Maharajah Gulab Singh.Shere Singh Atariwala, and Sirdar Chattar Singh.Rajah Suchet Singh, and Rajah Hira Singh.Rajah Shere Singh, and Maharajah Moon Mahal Singh.Phula Singh Akali, 'Sikh Priest', and Rajah Labh Singh.Fakir Noor-ud-Din, and Dost Muhammad Khan.Ranbir Singh, 'Cashmere Wallah', and Sham Singh Atariwala.Rajah Dina Nath, Nabob Shere Khan, 'Mooltan Wallah'.The Jama Masjid, Lahore.The Masjid of Wazir Khan, Lahore.The Tomb of Ranjit Singh, Lahore.'Amitsar, Gurus Darbar' [The Golden Temple].Shala Bagh.The Mausoleum of Jahangir, Lahore.The Taj Mahal.The Jumma Masjid, Delhi.The Qutb Minar, Delhi.Badshahi Takht, Lahore[?]Two men at a distillery.A man churning oil.Two hunters.Embroiderers.A millstone being turned by an ox.A maker of metal vessels.A man and two women sieving and pounding grain.Comb manufacturers.A barber.A carpenter.A drummer and a Sepoy rifleman.A potter.A dyer of cloth.A bookbinder.Silk weavers.Rope dancers, with one of their number in an outlandish costume.Masons.Two beggars.A muleteer and his wife.'Hoondee wallah' (a banker or accountant).A blacksmith.Two female silk weavers.Grain sealers [?]Goldsmiths.Cotton spinners and carders.A man milking a cow.An irrigation mechanism and water supply system turned by oxen.A bear dancer.A butcher.A cutter of timber.A female acrobat and a drummer.Boot and shoe makers.A cloth weaver and his wife.Opium smokers.Ribbon makers [?]Dancing monkeys and their handler.A bhishti (water-seller) at a well.A dancing girl with three musicians.A doctor: this also labelled Punjabee Book containing pictures of workmen etc, etc.For further information on this lot please visit Bonhams.com

Mir Alam, a Koh-i-stan Afghan bandit, heavily armed James Rattray (British, fl. 1840-50), before 1847watercolour and pencil on paper, various indistinct notes in pencil 260 x 190 mm.Footnotes:ProvenanceChristie's, Travel and Exploration, 26th-27th September 2007, lot 435.The painting was later engraved in Rattray's Scenery, Inhabitants and Costumes: Afghanistan, from Drawings taken on the spot by James Rattray, Esq., Lieut. 2nd Grenadiers Bengal Army, London 1847, no. 12 ('Koh-i-Staun Foot Soldiery in summer costume'). The pencil notes include the words Meer Alam, Afghan, Hassan, Goorhund Pass, and the date August 13th.Rattray's own note to this plate in the above work reads as follows:The Coistaun Foot Soldiery are of considerable importance in the event of any revolution in which they may take part [...] The figure in this sketch is a Coistaunee and his name is Meer Alum. He was formerly one of a band of noted robbers, who infested the Ghoorburd Pass (the high road to Toorkistan north-west of Begraum). They were commanded by a chief called Hussun, who levied blackmail on everything passing through his mountain defiles, and, resisting every attempt made to take him, became the terror of the whole country [...] Their dress consisted of the blue, red or white loose shirt, worn outside the full trouser; 'Kummerbund' (waist-belt) of muslin of Peshawuree 'loonghee', a plaid scarf of silk and cotton mixture, from which hung the 'Kummerkeesa', or embroidered Russian leather powder, shot, and bullet purses, with a variety of useful articles suspended on fantastically-shaped hooks, consisting of diminutive hammers, gunpicks, knife and rosary. On their heads, they wore the high flowing turban, or close skull-cap. Their arms were short iron spears, shields of buffalo or rhinoceros hides; 'chroras', or straight knives from twenty five to thirty five inches in length; blunderbusses, called 'sherebuchchas' (iron whelps); 'tofungs', matchlocks, with barrels forty-six inches long, and stocks studded ivory, brass, or silver patterns; curved swords, and 'juzzails'.For further information on this lot please visit Bonhams.com

A Tibetan llama and its foal, probably from the Barrackpore menagerie, by a follower of Sita Ram Oudh, circa 1815-20watercolour on paper watermarked H... & Murdoch 181[5], inscribed in lower border Lama of Thibet & Foal with scale for each animal 181 x 224 mm.Footnotes:The painting strongly resembles two works from an album of natural history works in the British Library (Add.Or.4952-78), assembled probably by Lady Hastings (wife of Lord Moira, later Hastings, Governor-General of Bengal 1813-23). Two volumes contained drawings of the birds and animals in their menagerie at Barrackpore. There seem to have been a number of artists working for them there. Most are in the harder Calcutta style but there are a couple that are more in Sita Ram's style, including one of the llama and its young in the park (Add.Or.4953). There is another (Add.Or. 5002), depicting a llama with two monkeys, with a very similar landscape background, as well as the scale in the lower border. See J. P. Losty in W. Dalrymple (ed.), Forgotten Masters: Indian Painting for the East India Company, London 2019, pp. 172-174.For further information on this lot please visit Bonhams.com

Mohan Samant (Indian, 1924-2004)Untitled inscribed Mohan Samant '76 on reverse oil, watercolour and sand on canvas169 x 197cm (66 9/16 x 77 9/16in).Footnotes:ProvenancePrivate New York Collection.Gifted directly from the above to the present owner.Born in Goregaon, Maharashtra in 1924, Samant trained at the Sir J.J School of Art under Shankar Balwant Pasikar and graduated in 1952. From the outset of his career, Samant exhibited his work alongside his fellow Indian modernists, in seminal shows such as Progressive Artists' Group: Gaitonde, Raiba, Ara, Hazarnis, Khanna, Husain, Samant, Gade' at Bombay's Jehangir Art Gallery in 1953 and Eight Painters: Bendre, Gaitonde, Gujral, Husain, Khanna, Kulkarni, Kumar, Samant, curated by Thomas Keehn in New Delhi in 1956.Samant is known for an incredibly diverse body of work. He derived inspiration from a wide variety of sources – including the cave paintings of Lascaux and Pre-Columbian ceramics – and has boldly experimented with mixed media, incorporating acrylic, oil, wire and sand on his canvases. The present lot is an illustration of these influences and is perhaps best explained by Samant himself when he says: : '[...] I fuse the symbols of Hindu mythology and ancient Egyptian wall paintings with the modern-day art world of New York City. My aesthetic relationship to the vast, visual resources from antiquity to the present day has helped form my unique style of painting and serves to provide an ongoing stimulus to its continuous development.' (speaking in 1997, quoted in Y. Dalmia, The Making of Modern Indian Art: the Progressives, New Delhi 2001, p. 69).For a similar work sold in these rooms, see Bonhams, Dubai, Modern and Contemporary Arab, Iranian, Indian and Pakistani Art, 3rd March 2008, lot 97.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Devi Prasad Roy Chowdhury (Indian, 1899-1975)An Inmate of the Harem signed centre right in Bengalipencil, pen and ink and watercolour with heightening in gold and white on paper laid down on board23 x 31cm (9 1/16 x 12 3/16in).Footnotes:ProvenanceAcquired by a previous owner in the late 1990s an auction in Cape Cod, Massachusetts.There are two labels on the reverse, one printed Exhibition/Modern (East) Indian Painting/Sent by Mr. O. C. Gangoly,/Calcutta, with the number of the picture (20), the title and the name of the artist in ink, and a second typewritten label with the price of $270.'He [Chowdhury] did not attempt the emotional approach and peter out into sickly sentimentality. If his women were decorative they were meant to be so [...] They were not intended to be manifestations of a spiritual ideal, but to frankly convey their human charm...' (Karl Khandalavala, 'Decorative Artist', in P. R. Ramachandra Rao (ed.), Chowdhury and his Art, Bombay 1943, p. 73, quoted in N. Tuli, The Flamed Mosaic: Indian Contemporary Painting, Ahmedabad 1997, p. 195, n. 48).Lot to be sold without reserve.For further information on this lot please visit Bonhams.com

* ANNETTE J STEPHEN (SCOTTISH 1910 - 1991),BLUE WATER, MULLwatercolour on paper, signed, titled label versoimage size 37cm x 48cm, overall size 60cm x 71cm Mounted, framed and under glass.Label verso: Eduardo Alessandro Studios, Broughty Ferry.Note: Annette Stephen (nee Soper) was born in Aberdeen and raised in Stonehaven. She was a member of the quartet who became known as 'The Catterline School' along with Joan Eardley, Lil Neilson and Angus Neil. Annette studied at Edinburgh College of Art under William G. Gillies whose influence can be seen in her choice of media. Painting mainly in watercolour from her home in Catterline, Annette was influential in the village's artistic success. In 1951, whilst recuperating from mumps, Joan Eardley was first introduced to the village by Annette. Together they found an ideal studio, a disused Customs and Exise watch house, which Annette purchased for less than £50. Annette planted a wild and rambling garden at ''The Watchie'' which delighted visitors to the studio. When Annette died in 1991, The Watchie was bequeathed to Lil Neilson on the understanding that it should continue to be used as a studio for artists, which it still is to this day.

* NEIL MACDONALD RSW RGI PAI,THE WHISTLE BLOWERpastel on paper, signed (Macdonald) and dated 95image size 45cm x 33cm, overall size 70cm x 57cm Mounted, framed and under glass.Note: Neil Macdonald has been the recipient of many awards including 2013 Elected RSW (Royal Scottish Society of Painters in Watercolour); 2013 Joe Hargan Award, Maclaurin Fine Art Exhibition, Ayr; 2013 Elected RGI (Royal Glasgow Institute of Fine Arts); 2012 The Smithy Gallery Award (PAI); 2012 Diploma of the Paisley Art Institute; 2011 Robert Innes Award - Scottish Drawing Competition; 2009 Discerning Eye, London- Scottish Regional Winner; 2009 Charles Jamieson Award PAI; 2008 University West Scotland Award PAI; 2006 EDC Ann Stevenson Memorial Award; 2005 EDC Purchase Prize; 1997 Contemporary Art Prize (Eton) Paisley Art Institute; 1981 David Cargill Travelling Scholarship (Italy and Belgium); and 1979 William Shanks Painting Prize. Neil MacDonald trained at Glasgow School of Art from 1975 until 1980, where he developed his considerable skills as a painter and consummate draughtsman. He is drawn to locations that exert historic and mythic presence, exploring the lyrical narrative of natural sites and strong bold shapes of castles, old townships and harbours. He does this through distortion of perspective, invention and editing, aiming to capture an essence of the structure or place. Colour is used in an emotive way to heighten the sense of mood, applying each layer upon layer of paint in a divisionist manner until a unity of statement is realised as the image emerges, revealing the subject’s unique sense of place. A new UK auction record was established in the most recent Scottish Contemporary Art Auction when "First Light, St Abbs" (by Neil Macdonald) sold for £3000 (hammer) - lot 539 1st August 2021.Condition report: Condition is very good overall, with no visible signs of restoration, damage, or known issues.

* DAWSON MURRAY ARE RSW RGI,TRIPTYCHmixed media on paper, signedimage size 27cm x 82cm, overall size 51cm x 102cm Mounted, framed and under glass.Note: Dawson Murray studied at Glasgow School of Art from 1961 - 66. After his post-diploma year a number of prestigious awards permitted him to spend two years in Italy where he studied under Giuseppe Santomaso in Venice. He then moved to Sicily where his painting reflected the heat and fertility of the northern coast. Returning to Scotland he spent 35 happy years involved in art education. A member of the Glasgow Group for 30 years, he was closely involved with the Richard Demarco Gallery in the 1980s. He now lives in North East Fife and is married to the painter Liz Murray. His passion for watercolour springs from the innate volatility of the medium, the constant vigilance required when painting wet-into-wet and the critical scrutiny necessary while watching paint dry. Dawson Murray's portfolio includes a 50ft high painting; a permanent feature in the Buchanan Galleries, Glasgow. After living with multiple sclerosis for 22 years he is now quadriplegic but is still able to create prints with the aid of an assistant, using his own version of the traditional sugar-lift technique, allowing him to “replicate the bleeding edges of areas of colour” that he so enjoyed in watercolour painting. Dawson Murray's work has won many awards, has been exhibited widely and is held in prestigious public, corporate and private collections.

A wooden framed Watercolour and oil painting of a woodland scene with Bluebells, signed lower right R.D. Sherrin, 23 1/2'' x 19 1/2'' including frame.

A framed and mounted Pen and Watercolour painting of Tenby Harbour, signed lower right T.O Davies, 25'' x 21'' including frame.

A framed and mounted Ink and Watercolour painting of a Harbour Scene with figures working on boats, possibly Tenby, signed lower right T.O. Davies. 20 1/2" x 17 1/2".

A framed and mounted Ink and Watercolour painting of sailing boats and a town with a church spire in the distance, signed lower right T.O. Davies.

A framed and mounted Watercolour and ink painting, signed Evelyn Howson, label verso 'An Impression of Painswick in The Snow', 20 1/2'' x 17''.