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A framed watercolour painting by the Suffolk artist James Chambury (1926-1994). The painting depicts a winter scene in Billericay, Essex

Manabu Kochi (Japon / France, né en, born 1954)Tragédie du Liban II technique mixte sur papier arches, encadrésigné 'M. Kochi', daté '2020' et titré 'Tragédie du Liban II' (en bas à gauche)exécuté en 202076 x 57cm (29 15/16 x 22 7/16in).mixed media on arches paper, framedsigned, dated and titledFootnotes:ProvenanceCollection de l'artisteLa présente oeuvre est vendue par le Fonds Claude et France Lemand au profit des Artistes et de l'Institut du Monde ArabeNé en 1954 à Okinawa, au Japon, Manabu Kochi suit une formation à l'Ecole des Beaux-Arts de Florence, et s'établit en France en 1981. Sculpteur, peintre et graveur, il réussit à élaborer un univers personnel, synthèse entre les arts primitifs et les courants européens modernes les plus novateurs et positifs. Son œuvre post-moderne est imprégnée de philosophie et d'humour, de couleur et d'harmonie. Depuis octobre 2018, le Musée de l'Institut du monde arabe détient une très importante collection d'œuvres de Manabu Kochi, grâce à la Donation Claude et France Lemand.« Cher Claude, j'ai dessiné des études préparatoires sur la tragédie et l'espoir du Liban. J'en ai tiré deux peintures à l'aquarelle. La première est l'image de l'explosion et de la destruction de la ville : les bâtiments sont détruits, le bateau a coulé, mais l'esprit des Libanais se dresse comme le Phénix. Et puis, il y a les paysages des célèbres chaînes de montagnes, qui embrassent et qui protègent toujours et si magnifiquement le peuple libanais.La deuxième peinture est dans la ville qui a été détruite et a fait beaucoup de victimes, les hommes, les femmes et les enfants. Les figures humaines sont métamorphosées, comme si elles souffraient dans leur chair de la situation du pays. Mais le peuple libanais garde l'espoir de bâtir un nouveau pays, paisible et beau, stable comme le grand cèdre, l'arbre typique du pays, qui se trouve au fond de l'image. Cet arbre est le symbole de la Nature protectrice, de la liberté et de la culture libanaise. Avec mon amitié. » - Manabu Kochi, 13.08.2020.Lettre à Claude Lemand.« Cher Claude, j'ai changé le dessin du deuxième croquis. A présent, les figures humaines ne sont pas mortes, elles sont vivantes mais expriment la complainte, la souffrance, la colère, mais aussi l'espoir en regardant le grand Cèdre libanais. J'ai enlevé l'oiseau et je l'ai remplacé par l'arbre, qui est le symbole du grand peuple libanais. J'espère que tu l'aimes. » - Manabu Kochi, 15.08.2020. Lettre à Claude Lemand.« Dès notre première rencontre à Paris en décembre 1988, il m'avait dit : Je suis plus pour l'harmonie que pour le conflit, pour l'harmonie entre tous les êtres vivants, qui sont une richesse ; la recherche de la pureté est illusoire, car elle aboutit au fanatisme ». Cette réflexion est une manifestation de sa philosophie pacifiste, opposée à toute dictature et à toute guerre qui ne peuvent qu'engendrer la destruction, la mort et le malheur, comme ce fut le cas au Japon et sur l'île d'Okinawa dont il est originaire. » - Claude Lemand'Dear Claude. I drew preparatory studies on the tragedy and the hope of Lebanon. I drew two watercolour paintings from it. The first is the image of the explosion and destruction of the city: the buildings are destroyed, the boat sank, but the spirit of the Lebanese stands like the Phoenix. And then there are the landscapes of the famous mountain ranges, which always embrace and protect the Lebanese people so beautifully.The second painting is in the city which was destroyed and claimed many lives, men, women and children. The human figures are metamorphosed, as if they suffered physically from the turmoil of the country. But the Lebanese people still hopeful to build a new country, peaceful and beautiful, stable like the great cedar, the national tree of the country, which is at the bottom of the composition. This tree is the symbol of the protective nature and liberty of the Lebanese culture. With my friendship. - 13.08.2020.'Dear Claude. I changed the drawing of the second sketch. Now, the human figures are not deceased, they are alive but express lament, suffering and anger, but also hope glazing at the great Lebanese Cedar. I removed the bird and replaced it with the tree, which is also a symbol of these great and resilient people. Hope you like it' 08/15/2020-Manabu Kochi's letters to Claude LemandBorn in 1954 in Okinawa, Japan, Manabu Kochi completed his training in Italy and came to live in Paris in 1981. Working in the fields of sculpture, painting and engraving, he has succeeded in creating a personal link between Primitive Arts and the most innovative trends in European Modern Art. His works are full of philosophy, humour, colour and harmony. Since October 2018, the museum of the Institut du Monde Arabe in Paris now houses a very important collection of works by Manabu Kochi, thanks to the Claude and France Lemand Donation.From the moment we first met in Paris in December 1988, he told me, 'I tend to be an advocate of harmony rather than conflict, of the harmony amongst all living beings, who represent such resources; seeking for purity is illusionary as it ends up in fantasy'. This comment translates the artist's pacifist philosophy, that opposes all types of dictatorship and war that can only lead to destruction, death and tragedy, as was the case for Japan and on the island of Okinawa, the place where he is born.-Claude LemandClick for an instant shipping quoteFor further information on this lot please visit Bonhams.com

English School, circa 1840, 'Canton', a town viewed from a river, inscribed on an old label verso, pencil, pen and watercolour, glazed and in white and gilt bevelled mount and a giltwood frame, 11cm x 7cm, framed 36cm x 34cmCondition report: Some discolouration to the edge of the painting, gilt paint on the frame chipped in places and the frame with small chip to the bottom edge. Ex stock from Julia Korner Gallery London.

A Watercolour of Primroses by Helen Druce (1887). Signed by the Artist. Size of Painting: Height 33cm, Width 23cm.

Small Oil Painting of Coastal Scene with Castle Ruins titled Fanzago, 10cms x 8cms, framed and glazed together with Watercolour Portrait of a Maiden holding a Goblet, 10cms x 8cms, framed and glazed

HY WOODS: A framed and glazed watercolour of a view through a meadow to buildings in the distance, 26cm x 37cm, foxing to painting and mount

Artist Easel, picture frames, Press Art School Ltd, catalogues, watercolour painting by Frank H Mason, Harry Rountree:- Two Boxes.

DAVID SHIERS (BRITISH, B.1945) (3)Liverpool Cathedral; Liverpool Metropolitan Cathedrala pair; each signed and dated 'D. Shiers 1977' (lower right)watercolour and gouache33 x 42cmTogether with a further view of terraced house with Liverpool Cathedral beyondARRThe size mentioned is the size of the painting. 

WATERCOLOUR BY ROWENA BUSH (SOUTH AFRICAN, 1917-1988)Durban Harbour, signed and dated 1969 lower left, image 36.5 x 52.5cm, mounted, framed and under glass, also a further oil sketch by D. Hurley, stylised figures, signed and inscribed 'Zanzibar '61' lower left, mounted and framed (2)Condition report: Bush painting badly foxed to upper section

Joan Eardley RSA (British, 1921-1963)Cornfield, Catterline watercolour, gouache and ink33 x 53 cm. (13 x 20 7/8 in.)Painted c.1960-62Footnotes:ProvenanceWith Roland, Browse & DelbancoSale; Sotheby's, 6 February 1990, Lot 335This work was painted outdoors in Catterline, the small fishing village in Kincardineshire, where Eardley spent much of her time from the 1950s onwards. The land and seascapes inspired many of Eardley's most memorable works, some of which verge on abstraction, and take their place as important markers in the evolution of 20th Century expressionist painting. She painted the fields behind her house on many occasions, where the hedgerow flowers grew; or the vista beyond, looking north-west over the fields called The Reath, which were part of the nearest farm, the Mains of Catterline. (P Elliot with A Galatro, Joan Eardley; A Sense of Place, National Galleries of Scotland, Edinburgh, 2016 pp.82-101).Eardley wrote to her friend Margot: 'I've got a series of paintings going at the end of my old cottage. I never seem to find that I want to move. It's a handy spot as no-one comes near and I can work away undisturbed. I just go on from one painting to another - just the grasses and the corn - it's oats this year, barley it was last year. There's a wee, windblown tree, and that's all. But every day and every week it looks a bit different - the flowers come and the corn grows so it is silly to shift about. I just leave my painting table out here, and my easel and my palette.' (Cordelia Oliver, Joan Eardley, RSA, 1988, p.76).Her expressive use of paint and warm colours combined with deep shadows, evokes the Scottish weather at the end of summer. The viewer has a real sense of urgency to gather in the harvest before the rain clouds roll in. Now, with hindsight, this could also be applied as a metaphor to her own personal situation. Eardley, who died at the tragically young age of 42 in 1963, was one of Britain's most remarkable artists of the post war period. This year marks the centenary of Eardley's birth.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

South America.- Chile.- Wood Taylor (Charles "Carlos" Chatworthy, painter, engineer, mariner, and military officer, 1792-1856) H.M. Ships "Collingwood" 80 Guns, "Asia" 84, and "Constance", 50 - Taken with the Camera Obscura, in the bay of Valparaiso by Lieut. Col. C. C. Wood, pencil, watercolour heightened with white on wove paper, with pencil inscription lower centre, signed 'C. C. Wood' lower left, and inscribed 'Valparaiso April 5th 1848' in the lower right corner, 313 x 472 mm (12 1/4 x 18 5/8 in), mounted onto board, associated toning and browning throughout the sheet, some spotting and surface dirt, large repaired tear in the lower centre, another smaller in the upper left corner, other minor nicks to the extremities, unframed, 1848⁂ Considered one of the most influential foreign artists who shaped modern painting in Chile. Wood Taylor worked in Boston in North America in 1817-1818, before joining an expedition to South America, arriving in Chile in 1819. In 1824, he arrived back in Valparaiso, following a trip to Peru, and while recovering from his journey he met the woman who would be his future wife; he subsequently converted to Catholicism to marry Dolores Chacon Ramirez de Arellano, and was to reside in Chile until 1852. An engineer as well as an artist, he worked on various planning and construction projects in Valparaiso, including work on the railways. He also designed the Coat of arms of Chile, which was adopted by the government in 1834.Another closely comparable view by the same hand, showing 'A View of H.M.S. Collingwood at the instant of shifting the Flag of Admiral Sir Geo S[eymo]ur from white to red and crossing top gallant yards at 8 A.M on the (Valparaiso)', was offered on the London art market in September, 2021 [unsigned but 'Attributed to Wood Taylor', see Bonham's London, Travel and Exploration, 14th September 2021, lot 183]. This work was likely a preliminary study for the slightly larger version dedicated and gifted by the artist to Admiral Seymour [see Christie's South Kensington, 26th May 2004, lot 398]. Another smaller version of this subject appears to have also utilised the camera obscura technology that the artist employs in the present work, with it being inscribed and dated "Chas C Wood November 1847. / Taken by the Camera Obscura" [see Christie's London, 8th April 1998, lot 29].

A Chinese fan shaped watercolour painting on silk depicting a bird on a blossom tree, framed and glazed, 61.5 x 39cm

Graham Rust (1942) - a botanical study of a blossoming blackberry branch, watercolour signed and dated June 1975, lower right, 26cm x 28cm, framed and glazedCondition: no damage to the painting

HERVEY ADAMS "Forest" abstract watercolour study signed and dated 1972 lower right image 32 cm x 47.5 cm with The Bruton Gallery exhibition card 24th March - 21st April 1973 featuring the painting

* Miniature painting. "Cleopatra" Queen of Egypt, circa 1820-1830, watercolour and bodycolour on ivory, depicting a semi-nude female reclining on a day bed beneath gilt-tasselled crimson draperies, an oval portrait miniature on a chain by her side, and a comport dish with fruit and a book on a nearby table, titled in early manuscript on verso, 5.8 x 7.7cm (21/4 x 31/16 ins), glazed ebonised frame (13.3 x 15.6 cm), together with a portait miniature of a seated lady wearing a pale blue dress, frilled lace collar, and cap, circa 1830s, watercolour on card, 11.5 x 9.7 cm (41/2 x 33/4 ins), framed and glazed (19.1 x 17.3 cm)Qty: (2)

Michael Hutchings (British, 1918 - 2020), fig tree in landscape. Acrylic on paper. Labelled verso, 'New English Art Club, Mall Galleries, 1975'. 41 x 65cm. With watercolour woodland scene, 40 x 27cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), still life with flowers. Watercolour on paper. Signed and dated 2008. Labels verso. 59 x 48cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), group of buildings. Graphite. Signed and dated 1947 verso. 27 x 34cm. With wooded abstract landscape, watercolour, signed lower right, 28 x 35cm; tapestry of a woodland, 21 x 32cm; and landscape with distant castle, watercolour, 44 x 54cm. (4)Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), landscape. Watercolour on paper. 46 x 62cm. With wooded landscape, watercolour, 40 x 51, and Carmathen Bay watercolour, initialled and inscribed verso, 35 x 46cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), 'Garden'. Landscape. Watercolour. 'New English Art Club' label verso. 44 x 56cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), reclining figure. Acrylic on board. Signed and dated lower right 1978. 61 x 86cm. With 'Drawing Class'. Watercolour on paper. Signed lower right and verso. 35 x 47cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutchings (British, 1918-2020), 'Bantry Bay, County Cork'. Watercolour. Initialled and dated '65. Inscribed verso. 43 x 53cm.Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Arthur William Hutchings (father of Michael), Townscape with Tudor Cottage, watercolour signed with monogram. 44 x 56cm. Together with another by the same hand depicting a bridge in a mountain landscape. (2). Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Alexander Hodgkinson (1912-1984). View in Rome. Watercolour, signed lower and right and verso. 46 x 56cm. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Caroline Sayer (Contemporary). Life Painting, watercolour. Signed to the mount, labelled verso. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

Michael Hutching (1918-2020). Eseley Valley, Lower House Farm, Watercolour 1973, signed and dated lower right. Unframed with original backing board with New English Art Club labels. Biography and ProvenanceFaced with a choice between art and medicine as a career after serving in the Second World war, the late Michael Hutchings (1918-2020) became a pathologist, working in London hospitals. However, he never abandoned his first love, painting, and kept an active studio wherever he lived, spending most of his adult live in Barnes, in the south west of the capital.He was an extraordinarily long-lived artist, who witnessed arguably the greatest period of development in Western art across his lifetime. When he was born, Vorticism and Cubism had only recently emerged, and by the time he died, aged 101, we had entered the age of Conceptual art, video art, NFTs and Banksy.Hutchings' contribution to the exploration of painting can largely be summed up in a single word: Colour. For him it was not simply a filler to assist in the expression of form, it was the form itself.Now works from his studio will be offered for the first timein this dedicated auction.The title of the sale pays tribute to his driving belief that it was the artist's job to let the colour express itself: The Michael Hutchings Collection: Let The Colour Do The Drawing.Whether landscapes, portraits, character studies, abstracts and semi-abstracts, Hutchings' mastery of the palette led to the creation of vibrant compositions where line and form were strictly defined by the use of block colour and colour shade. As in nature, he found no need for separate outline.Having trained at Chelsea College of Art and The Slade, as well as the Open College of the Arts, for much of his life he developed his theories and style under his own steam.He used unusual colour combinations and tones to express mood and atmosphere in his paintings, showing how unexpected pairings across the spectrum could produce surprisingly effective results.The range of works in the sale illustrates his consistent mastery of this technique, which not only creates psychological and emotional studies of great depth and sophistication, but also results in some highly attractive and decorative pieces.Born in Frodsham, Cheshire, young Michael was a sensitive child who developed a stammer following an unexceptional, but for him traumatic, classroom experience. The incident gave an early insight into his unusual perception of the world around, which included a highly developed appreciation for natural beauty.It also led to him being treated by the renowned therapist Lionel Logue, celebrated as King George VI's specialist in the multi-Oscar-winning film The King's Speech. Hutchings became friends with Logue's son who visited him in later years.Having studied medicine at Liverpool University, Hutchings signed up for the Army Medical Corps, serving in Italy, Morocco and Austria during the Second World War. During this time, he continued his practice of painting and drawing wherever he went, sending home for materials as he travelled across Europe.It was when he returned from the war and enrolled at Chelsea College of Art and then The Slade that he faced arguably the hardest decision of his life: whether to pursue a career in art or medicine. It is thought family pressure directed him to the latter and that pathology may have allowed him to pursue a career out of the public eye in the quiet of the laboratory and so saved him from exposing his intermittent stammer any more than he needed to.Working first at Whipps Cross Hospital, where he met his future wife Kitty, he moved to St Charles's Hospital in Ladbroke Grove, specialising in haematology, with a particular interest in sickle cell disease.Despite this, art was omnipresent, and after also studying at Putney School of Art and the Open School of Art, he became a member of the Royal Academy and exhibited at a number of shows over the years, where he sold works and won several competitions."He was fairly private and kept his art private generally, but everybody he knew knew he painted," says his daughter Katherine. "If he had gone for art as a career, I think he could have made a name for himself."She recalls him telling the family that painting was his first love, and weekends were spent visiting the latest exhibition. He was especially keen on new developments in art and 'the latest thing'.So important was painting to him that he even chose his children's school, Dartington Hall, because of its devotion to teaching art, says Katherine."Even into his nineties he would take himself off on public transport to the Tate and continued buying paintings," she says. "He only stopped painting about seven or eight years before he died."Hutchings' longevity might have been, in part, the result of his fitness. Continuing to run marathons into his eighties, in his early seventies he came second for his age group in the London Marathon.His was an extraordinary life and he left behind a rich and accomplished body of work that is in this sale now we are privileged to be able to present now-."The volume, range and quality of the works in the sale present a real opportunity to establish an ongoing market for Michael Hutchings. He may not have been able to pursue his first love as a career during his lifetime, but his talent certainly deserves significant recognition now."

λ Simon Palmer (British b. 1956)The Barge of FoolsInk and watercolour Signed twice (lower right) and titled (lower left) 84 x 60cm (33 x 23½ in.)Provenance:Property from a Private English CollectorSimon Palmer was born in Yorkshire in 1956, growing up in Bromley and attending Reigate Art School. When visiting Wensleydale, North Yorkshire, he fell in love with the landscape that has become the inspiration for his watercolours. Palmer's paintings capture a fairy tale-like atmosphere grounded in the rural scenery of Yorkshire. From the narrow lanes, railway bridges, the drystone walls and winding fencing, stone churches and farms, ancient trees and new saplings and, on the horizon, the distant moors waiting to claim back the domesticated land. Starting with the familiar landscape of Wensleydale, Palmer has created an illusion which hovers on the brink of reality, connecting his much loved home and the world of his imagination. He has exhibited extensively since 1980, at the Mercer Art Gallery and the Portland gallery. He has also held ten one-man exhibitions in London with JHW Fine Art, and written three books including 'Pebbles on a Beach' (1990).Palmer won the 2007 Turner/Windsor and Newton Watercolour Award at Royal Academy Summer Exhibition. Other notable exhibitions include the National Trust Centenary exhibition, British Landscape Painting in the Twentieth Century.  

Dame Elizabeth Violet Blackadder DBE, RA, RSA (1931-2021) Flower Studies Signed, pencil and watercolour, 48cm by 58cm This watercolour was used by Alex Salmond (First Minister of Scotland 2007- 2014) as a Christmas Card in 2012 to mark the Year of Natural Scotland. This painting was also used in the BBC's obituary on the artist Provenance: Bonham's Edinburgh: ''The Scottish Sale'', Thursday, September 12, 2013, Lot 119 Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

*DAVID JONES (1895-1974) 'The Yellow Door, Pigotts' An interior scene looking through an open door to a garden, watercolour over pencil, 50cm x 61.5cmProvenance: The Lady Kinnaird and thence by descent Pigotts, in the village of Speen in the Chiltern Hills of Buckinghamshire, was the home of Eric Gill from 1928 until his death in 1940, where the Artist set up a printing press, lettering workshop and alternative community.David Jones had previously been introduced to Gill through The Guild of St Joseph and St Dominic, Gill's Catholic community of artists and craftspeople, based on the idea of the medieval guild and founded in 1920 in Ditchling, East Sussex. In 1924 Jones had become engaged to marry Gill's daughter Petra, but in 1927 she broke off their engagement to marry a mutual friend. Distressed, Jones concentrated on art. Petra's long neck and high forehead would continue as female features in his artwork. Jones continued to spend a lot of time with the Gill Family, firstly at Capel-Y-ffin, Gill's home in the Black Mountains between 1924-1928 and then at Pigott's, where Jones produced much of his work between 1928 and 1932. It was following Gill's move to Pigott's that Jones became an important part of the art world in London, being great friends with Jim Ede and joining with Ben and Wilfred Nicholson, Ivon Hitchens, Christopher Wood and Cedric Morris in the Seven and Five Society. He continued to exhibit with them every year until 1933. Jones was eventually expelled from the Society by Nicholson in 1935 for failing to embrace abstract painting. In 1965 Jones was proclaimed Britain's best living painter by Kenneth Clark, whilst his poetry, including the celebrated epic poem 'In Parenthesis' based on Jones's experiences during the First World War, saw him lauded by T.S. Eliot and W. H. Auden 

ENGLISH SCHOOL, 20TH CENTURY A stylised interpretation of an Indian miniature painting inscribed "Jane Barnes, Jan '81" in pencil verso, watercolour, 24.5cm x 17.5cm Provenance: The Studio of Peter Snow (1927-2008)Peter Frederick Briscoe Snow was an English painter, theatre designer and teacher. From the 1960s to the 1990s he was head of postgraduate theatre design at the Slade School of Fine Art

ROBERT L. SHEPPERSON (1955-2012) - A watercolour painting by R. L. Shepperson depicting a red squirrel eating nuts on a tree stump together with another watercolour painting depicting a seaside view with boats and housed. Measures 48cm h x 39cm w

WYLLIE W. L.  Marine Painting in Watercolour. Tipped in col. plates. Oblong. Orig. cloth, fading & some wear. 1901; also a carton of quarto vols., art reference, incl. Studio publications & 4 vols., Historical Portraits.

James Walter Gozzard (British 1888-1950) "A Showery Evening", signed, titled on the mount, watercolour.19cm x 24.5cm (7.5in x 9.5in)Condition report: The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has been overpainted and has some minor scuffs and knocks commensurate with age.

J. A. Henderson Tarbet (Scottish c.1865-1937) Autumnal river scene, signed, watercolour.32.5cm x 47cm (12.75in x 18.5in)Condition report:The painting is in good, original condition with strong colours. There is some very light time staining and yellowing around the edges of the paper near the mount board and some minor spots of foxing across the sheet. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Alfred Fontville De Breanski Jnr. (British 1877-1957) "A Bend on the River Wey, Guildford, Surrey", signed, titled on verso, watercolour.27cm x 42.5cm (10.5in x 16.75in)Condition report:The painting is in good, original condition with overall strong colours although there may be some slight fading in the sky and water areas. There is an area of browning and some other light surface marks in the lower left-hand corner of the paper. The painting is ornately framed and glazed.

Henry Charles Fox R.B.A. (British 1860-1925) Rural lane with sheep, signed and dated 1920, watercolour.37cm x 54.5cm (14.5in x 21.5in)Condition report: The painting is in good, original condition. There are some minor spots of foxing across the painting. The painting is ornately framed and glazed. The frame has some knocks and losses.

Continental School (19th century) "The Woodman", unsigned, titled on the mount, watercolour and pencil.54.5cm x 39cm (21.5in x 15.5in)Condition report:The painting is in fair, original condition with strong colours. There is some foxing and other surface marks across the painting and some minor creasing and tears to the paper. The painting is ornately framed and glazed. The frame has the odd minor knock and loss commensurate with age.

Warren Williams A.R.C.A. (British 1863-1941) Coastal scene with Criccieth Castle in the distance, signed, watercolour.27cm x 38.5cm (10.5in x 15.25in)Condition report:The painting is in good, original condition with strong colours. There are some minor spots of foxing and browning across the painting. The painting is framed and glazed.

John McDougal (1880-1934) Coastal view, signed and dated 1926, watercolour.34cm x 52cm (13.5in x 20.5in)Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report.  The two black marks visible in the sky are on the glass and not on the painting itself.  The painting is framed and glazed.

James Stephen Gresley (1829-1908) A shepherd with dog herding flock of sheep across a river bridge, signed and dated 1889, watercolour.34.5cm x 54cm (13.5in x 21.25in)Condition report:The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed.

Robert Thorne Waite R.W.S. (British 1842-1935) Figures loading hay onto a barge, signed, watercolour.12cm x 34.5cm (4.75in x 13.75in)Condition report:The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Charles Edward Dixon (British, 1872-1934)'The Fleet at Portland', 1912signed, dated and titled 'Charles Dixon. 1912' (lower right) watercolour 15 x 19.7cm (5 7/8 x 7 3/4in).Footnotes:Two years after this painting is dated the old battleship HMS Hood was scuttled in the southern entrance of Portland to reduce the risk of a new threat, submarine penetration, and the anchorage had now become a huge and secure harbour and indeed remains one of the largest man made harbours in the world. Whilst the harbour was not deep there was certainly water enough even for the deep draught capital ships of the first half of the 20th century and with its quick access to the Channel it was used very extensively by the fleet - as seen here in 1912. At left foreground (in shadow) is what appears to be a battle cruiser of the newly completed Lion Class and also lying at anchor in the great harbour we glimpse a further battle cruiser or two and some dreadnought battleships - including one that looks like Neptune - as well as some armoured cruisers. Steam Pinnaces are also in evidence as they run duty errands for senior officers and provide liberty boats for those able to get ashore for an hour or so.It was from Portland and Weymouth Bay that the First Fleet (shortly on the outbreak of hostilities in 1914 to be renamed the Grand Fleet) was sailed in great secrecy by the First Lord of the Admiralty, Mr Churchill, just days before World War 1 was declared. The First Sea Lord, Admiral Prince Louis of Battenberg, had personally ensured that the First Fleet was not dispersed on completion of the great naval review at Spithead some 10 days earlier for the international situation was getting more worrying by the day. And so as Europe slid towards war Portland became the anchorage for the huge gathering of dreadnoughts (some two dozen) whilst many of the cruisers and most of the destroyer flotillas crowded out Weymouth Bay. In those final days of July 1914 - and with Churchill agitating lest the fleet be subjected to a pre-emptive attack before war was actually declared - the ships in Portland and Weymouth were sailed in secrecy for Scapa Flow under cover of darkness. In the First Lord's dramatic words: 'We may now picture this great fleet, with its flotillas and cruisers, steaming slowly out of Portland harbour, squadron by squadron, scores of gigantic castles of steel wending their way across the misty, shining sea, like giants bowed in anxious thought. We may picture them again as darkness fell, eighteen miles of warships running at high speed and in absolute blackness through the narrow Straights, bearing with them into the broad waters of the North Sea the safeguard of considerable affairs.'For further information on this lot please visit Bonhams.com

Frank Watson Wood (British, 1862-1953)Portland, Dorset: Atlantic Fleet Capital Ships, 1921signed and dated 'FRANK WOOD 1921' (lower right), inscribed with each of the ship's names (lower edge) watercolour 17.5 x 75cm (6 7/8 x 29 1/2in).Footnotes:The protected anchorage at Portland – formed by Chesil Beach and the south Dorset coast mainland to the west and north, and the Isle of Portland to the south – has been a spacious base for ships of the Royal Navy for generations. King Henry VIII built Portland Castle and Sandsfoot Castle to defend the anchorage but the navy was keen to enclose it further by providing protection from the south and east; and so construction of the south breakwater arm was started in 1849, finally completing some 25 years later. The early years of the 20th century saw the rising threat of war against Germany dominate naval strategic thinking and as the Royal Navy developed the dreadnought battleship and then raced to outbuild the German fleet, Portland anchorage, strategically well placed and therefore undoubtedly useful was, however, considered too vulnerable to attack from the east. Two further breakwater arms were accordingly constructed together with more forts and batteries ashore, and two small forts were also built on the seaward ends of the breakwater arms. With the scuttling of the old battleship HMS Hood in the southern entrance in 1914 to reduce the risk of submarine penetration, the anchorage had now become a huge and secure harbour and indeed remains one of the largest man made harbours in the world. The Royal Navy continued to make good use of it for the following 70 years or so and remained there until 1995 when defence cuts forced its closure as a naval base. And in 2012 the former naval base and adjacent Weymouth Bay - from where the Grand Fleet's dreadnoughts and escorting flotillas sailed just hours before war was declared in 1914 - became the venue for the sailing events of the 2012 Olympics: – a fitting use indeed. Whilst the harbour was not deep there was certainly water enough even for the deep draught capital ships of the first half of the 20th century and with its quick access to the Channel it was used very extensively by the fleet. In this 1921 painting Frank Watson Wood shows heavy units of the Atlantic Fleet at their overnight anchorage in the great harbour. To the left Wood has painted HMS Ramillies (Captain Cecil D S Raikes RN), HMS Revenge (Captain H J S Brownrigg DSO RN) wearing the flag of Rear Admiral Sir Rudolph Bentinck KCMG CB, Rear Admiral 1st Battle Squadron; and HMS Royal Oak (Captain Percival Hall-Thompson CMG RN). In the foreground to the right lie HMS Queen Elizabeth (Captain Geoffrey Blake RN) wearing the flag of the Commander-in-Chief Atlantic Fleet, Admiral Sir Charles Madden Bt GCB GCVO KCMG; HMS Barham (Captain R C Dalglish RN), flagship of Vice Admiral Commanding 1st Battle Squadron, Vice Admiral Sir William Nicholson KCB; HMS Valiant (Captain Cecil Staveley CMG RN); and HMS Warspite (Captain F Clifton-Brown CB CMG RN). The fifth ship of the class, HMS Malaya (Captain Percy Royds CMG RN) was absent in the Far East, on a courtesy visit to her donors in Malaya and carrying HRH The Duke of Connaught to India enroute. The artist, Frank Wood, originally a school master from the Borders, had moved down south in the early 1900s and painted many commissions for serving officers of the time. Such was his reputation that he was commissioned by HM King George VI in 1937 to paint the senior flagship (Queen Elizabeth again) at the Coronation Review of May that year to give as a present to the battleship's wardroom; and two years later he was Travelling Artist with the Royal party when the King and Queen visited Canada and America in summer 1939.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

19th Century Italian School - allegorical scene with Mary and baby Jesus, watercolour, 19.5cm x 15.5cm, framed and glazed. Condition: crease through the centre of the painting

Graham Rust (1942) - a botanical study of a blossoming blackberry branch, watercolour signed and dated June 1975, lower right, 26cm x 28cm, framed and glazedCondition: no damage to the painting

Pugin (Augustus). Specimens of the Architecture of Normandy, from the XIth to the XVIth Century, London: Blackie & Son, 1874, additional engraved title and numerous plates, light scattered spotting, contemporary half calf, rubbed, 4to, together with: King (Edward). Munimenta Antiqua; or, observations on antient castles. Including remarks on the whole progress of architecture, ecclesiastical, as well as military, in Great Britain..., 3 vols., 1799-1804, frontispieces lacking and numerous plates removed, some text leaves detached, contemporary calf, some boards detached, worn, folio, together with other miscellaneous books etc. including volumes 4 & 6 of Morris's British Birds (lacking some plates), volume 3 only of Omerod's History of Chester 1819 (plates removed), an early 19th century album containing a small selection of watercolour views, studies and pencil drawings etc., and a 19th century naive oil painting on tin of a man on horseback capturing a tiger (26.5 x 22.5 cm)Qty: (a carton)NOTESSold with all faults, not subject to return.

Alastair Proud SWLA (b.1954) Saker Falcon Studies, signed bottom right and annotated, watercolour and pencil, measurements 31.5 x 42 cm, frame 55 x 66 cm consigned from a significant private collection of wildlife art, label verso for SWLA Exhibition at The Mall Galleries 1988Condition report: The painting is a work on paper, framed under glazing- not examined external to the frame. The sheet appears in good condition with no obvious evidence for any rips, creasing or folds to the paper and the surface appears stable with no obvious signs for any deterioration. The frame appears in good condition and has solid joints.

Major George Henry Benton Fletcher (British 1866-1944) Pyramids at Giza circa 1906-1908, monogrammed bottom left, watercolour, measurements 29 x 38 cm, frame 53 x 59 cmFletcher travelled extensively during the turn of the 20th century including some years through Egypt with companions, his watercolours of Egypt were exhibited at the Fine Art Society in New Bond Street during June and July 1914.Label verso for The Rowley Gallery Ltd, Kensington framemakersCondition report: The painting is a watercolour on paper, framed without glazing. The sheet appears in good condition without obvious evidence for rips, creasing or folds. The paint surface appears stable and there does not appear to be signs of paint loss or deterioration. The mount has ageing and staining to the surface, there is wear and tear to the frame.

John Cyril Harrison (British 1895-1985) Grouse in Flight, signed lower right, watercolour, measurements 10.5 x 12.5 cm, frame 33.5 x 25.5 cmProvenance: consigned from a significant private collection of wildlife artCondition report: The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in good condition no obvious signs of any rips, folds or creasing. There is some ageing (browning) of the sheet down the left and right edges against the mount. There is some staining- red brown in colour above the back of the neck of the grouse on the left and a smaller fainter patch beneath centre. The frame is in good condition. The painting has been consigned from a significant private collection of wildlife art which included artists such as Charles Tunnicliffe, Eric Ennion, George and Eileen Soper, Terence Lambert, Ralston Gudgeon etc.

A watercolour painting, depicting a street scene, signed and dated (lower right) '1869 Sanderson', framed and glazed, 35cm x 26cm

*Ruth Collet NEAC (1909-2001)A Family Outingsigned 'COLLET', watercolour and bodycolour28 x 38cmExhibited: The New English Art Club, 1944.*Artist's Resale Right may apply to this lot. Condition report: Not viewed out of glazed frame. Through glass, the painting itself does not appear to have any condition issues. Some light cockling but just from watercolour process. Mount appears to be acidic and is stained with foxing, black marks and what may be a water mark running down right edge. Please see additional condition report images on website.

Alexander Calder (American, 1898-1976) Untitledsigned and dated 'Calder '61' l.r., watercolour and gouache55 x 74.5cmProvenance: Botanist, writer and explorer Nicholas Guppy (1925-2012) acquired it directly from the artist;then acquired by close friends, the Rentons, Folly Mill, Thaxted, Essex.In 1953, while spending a year in Aix-en-Provence, Calder produced his first series of gouache paintings and continued to work in this medium until his death in 1976. Lot 221, Calder's 'Untitled' watercolour and gouache on paper, was created in 1961. In this bold painting, Calder works with quick, broad brushstrokes to form a vivid image. He cleverly deploys bright colours, not quite touching the yellow and blue together, allowing the white of the paper to become an important part of the composition. 'I paint with shapes', Calder once said, and it is the two more thickly painted orange circles that catch our attention and create balance in this piece.Condition report: Viewed out of glazed frame. Colours appeared more vivid out of glazed frame (how it was initially photographed). Paper is attached to mount board with small pieces of tape along each edge. Looks like it could be reasonably easily removed as opposed to being pasted down. Some very light time staining to lower left edge. A few light surface abrasions on blue watercolour. Some of the thicker areas of paint, ie red and yellow have some light craquelure. Two small brush hairs attached to surface in yellow above lower red circle. A tiny handling crease to right edge. Please see additional condition images on website.

*Malcolm Arbuthnot (1874-1967)Outbuilding with landscape beyondwatercolour48.5 x 59cmOriginally a photographer, Arbuthnot was a signatory of the 1914 Vorticist manifesto published in ‘BLAST’ magazine along with other leading lights of British modernism such as Wyndham Lewis, Edward Wadsworth, William Roberts and Ezra Pound. Arbuthnot focused on painting from the end of WW1 onwards. He retired to live in Jersey in 1931 and thereafter his painting was often inspired by its landscape and scenery.*Artist's Resale Right may apply to this lot.Condition report: Unexamined out of glazed frame, a few tiny specks of foxing emerging - and some discolouration to inside edges of mount, overall appears to be in good condition, well-presented in oak frame, ready to hang.

A collection of pictures and prints. Includes large oil painting, JH Shaw watercolour etc.

Rachel Hemming Bray (British, B.1947) - Still life with pansy and honeysuckle posy, watercolour and pastel on paper, signed and with label verso, 38.5 x 18cm, together with a further gouache painting by the same hand of a still life with flowers and a bowl of cherries, signed and with label verso, 22.5 x 13cm approx, both framed (2)

ORIENTAL ART, comprising a Chinese painting on silk depicting figures walking towards a dwelling, size approximately 33cm x 27cm, a modern Chinese gouache/watercolour of pigs and chickens, size approximately 49cm x 38cm and a woodblock print obtained from a Tibetan monastery in 1972

PAINTINGS AND PRINTS, ETC, to include 'Italian Landscape' by Jane Davies, mixed media on paper, size approximately 54cm x 74cm, Marina Stuart painting on silk of a peacock, John Trevorrow acrylic study of a kingfisher, Pete Davis study of architectural details in pen and wash, Marny Mays-Short landscape watercolour, John Webster print of Royal Yacht Britannia, assorted prints and a Chinese silk embroidered landscape picture

Ronald Lewis (American) watercolour painting of a beekeeper, signed 30 x 44cm, glazed frame

A Watercolour depicting a country scene. Painting size 14.5 x 19.5cms Mount inscribed J. Constable R.A.

W.S Cooper watercolour, Cattle and Sheep in field scene, signed L.L. W S Cooper '80. Painting size 16cms h x 23cms w.Condition ReportSome dirt stain to skyline, frame with gesso decoration loss.