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A large Victorian scrapbook, partially mounted with watercolour botanical specimens, Chinese rice paper painting of a sampan, a cockatoo and others, leather and marble boards, 47 cm x 38 cm

A collection of items including watercolour paintings, 1970's railway photographs, a Paul McCartney sheet music book, an Aryan fabric painting, a British Trains book, two frames and jigsaw puzzles

Two highly decorated picture frames having painting on glass pictures together with a Watercolour of Strawberry Woods, Cleveden, Somerset

A large watercolour and gouache painting possible a design for a grand stained window depicting classical female winged figures. Unsigned and unattributed Hight 288x62cm

An Antique Continental Miniature painting of a battle scene, After Philips Wouwerman early 19th century. Watercolour on card, in a tortoiseshell frame mounted with mother of pearl [7.5cm in diameter]

A Chinese silk embroidered panel depicting a butterfly amongst flowering foliage, 24 by 64cms (9.5 by 25.25ins); together with another similar depicting a landscape scene; a Chinese fan shaped watercolour painting depicting a young girl in a boat with calligraphy; and a Chinese print of a chicken in a flowering tree, all framed & glazed (4).

GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) THE BRIDGE Signed, oil on canvas(51cm x 61cm (20in x 24in))Footnote: Exhibited: Royal Academy 1932, no.61 Note: This delightful pair of oil paintings are replete with an air of easy summer leisure. Both pictures implement George Henry’s distinctive, rich palette which seems almost to radiate heat. The paintings, which appear to represent the same bridge from alternate perspectives, offer a unique insight into the artist’s commitment to his subject-matter through a thorough exploration of composition and technique. Henry has constructed an absorbing interplay of dynamics between his figures, catalysed by the contemplative, observant figure on the far left of each composition. An interest in the interrelationships between his subjects is also evident in this attractive watercolour, which exemplifies Henry’s ability to wield the medium using delicate, feathery brushwork to bring a composition to life. George Henry studied at Glasgow School of Art in the early 1880s. He relocated to Kirkcudbright to refine his practice, then spent nineteen months working and travelling in Japan, an experience that impacted his painting profoundly. He is remembered today as one of the most prominent members of the Glasgow school.

GEORGE HENRY R.A., R.S.A., R.S.W. (SCOTTISH 1858-1943) FEEDING THE SWANS Signed, oil on canvas(51cm x 61cm (20in x 24in))Footnote: Note: This delightful pair of oil paintings are replete with an air of easy summer leisure. Both pictures implement George Henry’s distinctive, rich palette which seems almost to radiate heat. The paintings, which appear to represent the same bridge from alternate perspectives, offer a unique insight into the artist’s commitment to his subject-matter through a thorough exploration of composition and technique. Henry has constructed an absorbing interplay of dynamics between his figures, catalysed by the contemplative, observant figure on the far left of each composition. An interest in the interrelationships between his subjects is also evident in this attractive watercolour, which exemplifies Henry’s ability to wield the medium using delicate, feathery brushwork to bring a composition to life. George Henry studied at Glasgow School of Art in the early 1880s. He relocated to Kirkcudbright to refine his practice, then spent nineteen months working and travelling in Japan, an experience that impacted his painting profoundly. He is remembered today as one of the most prominent members of the Glasgow school.

§ SIR WILLIAM GEORGE GILLIES C.B.E., L.L.D., R.S.A., P.R.S.W., R.A. (SCOTTISH 1898-1973) ST VALERY Signed, watercolour(48cm x 63cm (19in x 25in))Provenance: Mercury Gallery, Edinburgh April 1987 Literature: W. Gordon Smith, W. G. Gillies - A Very Still Life 1991, Ill. pp.24, 25, 51Footnote: Note: Gillies’ early training in Paris is well-documented; less well-known is his 1938 sojourn in the French fishing port of St Valery-en-Caux, Normandy, in the company of the artist Johnnie Maxwell. This evocative watercolour is a rare souvenir from this trip. Made spontaneously and without preparatory drawing, colour has been applied in urgent, bold strokes evoking an atmospheric windy day in the French coastal town. The luscious, expressive mark-making demonstrate Gillies’ admiration for the French masters of interior painting such as Vuillard and Bonnard, yet for Gillies it was in his landscapes painted en plein air that he felt he could best capture a sense of vibrancy and immediacy. This watercolour typifies the artist’s ability not only to record his surroundings, but to also lay down an unmediated emotional response to the world around him. The emotional intensity of Gillies’ painting from around this period is perhaps best explained by the sense of tragedy that defined his life in the latter half of the 1930s: as tensions mounted in the build-up to the Second World War, Gillies also suffered a bitter personal loss through the death of his younger sister Emma, who succumbed to ill health in 1935. Herself a talented ceramicist, Gillies had painted Emma a number of times, and the siblings shared a close and affectionate relationship. In the wake of this loss, Gillies threw himself into his craft with renewed devotion, with the resulting work demonstrating an exploration of the boundaries between intimacy and intensity. Gillies’ influence on Scottish landscape painting has been profound, and this vivid watercolour is a rare instance of the artist applying his distinctive vision to a subject-matter further afield.

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) CHILDREN PLAYING IN THE STREET Charcoal and watercolour(17.5cm x 22.5cm (7in x 9in))Exhibited: The Scottish Gallery, Joan Eardley - Paintings and Drawings, 2007 Provenance: The Artist's Studio ED1414Footnote: Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

§ JOAN EARDLEY R.S.A (SCOTTISH 1921-1963) HAYSTOOKS Pen and ink and watercolour(23cm x 57cm (9in x 22.25in))Provenance: Artist's studio ED1267Footnote: Exhibited: The Scottish Gallery, Joan Eardley 1981, no.6 Note: In this, the centenary year of the artist’s birth, Lyon & Turnbull are delighted to dedicate a section of our bi-annual Scottish Paintings & Sculpture sale to the wonderful work of Joan Eardley.As an audience we find ourselves increasingly intrigued by Eardley as the years pass. Perhaps this is because the passage of time has done little to dim the eloquent ‘truthfulness’ of her work, or the fact we now understand fully how we have been robbed of a significant talent by her untimely early death. What could this extraordinary artist have gone on to achieve with more time?It is also, perhaps, because through her work we can see tangible glimpses of the singular woman herself. What we know of this artist’s personality from the accounts of her small but close circle of friends is transcribed vividly in paint and charcoal. There is a raw passion to her work, as well as a brusque but acute sensitivity and pathos towards her fellow humans; a determination in the marks she made, and a single-mindedness evident in the subjects that drew her intense focus.With works representing each of the key areas of her oeuvre, the selection offered here for sale help to tell the story of this extraordinary woman’s life. ********************************************************** Eardley was devoted to Glasgow, particularly to the fast-disappearing areas to the east which were being torn down and re-developed. She recognised that the sense of community which had thrived within the tenement closes and backcourts was vanishing along with the old buildings and subsequently dedicated herself to capturing what remained in her artworks. Nothing represented this essence for Eardley more than the local children: “…they are Glasgow – this richness Glasgow has – I hope it will always have – a living thing, an intense quality – you can never know what you are going to do but as long as Glasgow has this I’ll always want to paint.”Eardley had an attic studio at 21 Cochrane Street, now long since demolished. It was extremely basic, consisting only of a large free-standing stove, a cooker, a workbench and sink. It did, however, have a glazed ceiling and outer wall making it perfect for painting. It was here that the majority of her famous depictions of the local street children were painted. She had her favourites amongst them – those that would come knocking on her door asking to be painted – and they recur as recognisable characters in her drawings. ******************************************************** Catterline, a tiny row of fishermen’s cottages hunkered on the wild North East Scottish coast, became the foil to the scenes of urban decay and scrambling clusters of children playing in the streets. Here her work found an expanse of elemental scenery and wild, wind-lashed textures to tempt her brush. Again favouring almost spartan living conditions; the simplest of furniture, the light of old oil lamps, Eardley would spend weeks at a time alone here, trudging doggedly out into the elements to paint en plein air. The work produced here is often tumultuous; the artist revelling in the battle to distil the landscape’s essence even as it tries its best to evade her. Crashing waves, tangled grasses and heaving skies characterise these works which again capture the duality that is at the root of her work: her ferocious skill married with an un-replicable sensitivity to her environment. ******************************************************** By 1961, Joan Eardley's ill health was keeping her indoors in her Catterline cottage for periods and she wasn't always able to paint en plein air in the elements. Consequently, only a very small clutch of still lifes exist, dating exclusively to this short time period between 1961 and her death at the age of 42 in 1963. Though Eardley resented her periods of confinement, these oils nonetheless burst with all the wild texture and vitality of her landscapes of the surrounding cornfields and meadows. Taking a traditionally feminine genre of painting, Eardley individualised her approach to the subject and the result is both striking and beautiful. The layers of scumbled paint and the myriad ways in which she applies it are a visual feast for the eyes, not to mention a demonstration of her distinctive prowess as a painter. 

ROBERT GEMMELL HUTCHISON R.B.A., R.O.I., R.S.A., R.S.W. (SCOTTISH 1860-1936) AMONGST THE BENTS, Signed, watercolour(46cm x 36cm (18in x 14in))Footnote: Note: In his painting Robert Gemmel Hutchison strove for an essential truth: to capture a common humanity in his subjects. His charming compositions provide an insight into the late nineteenth and early twentieth-century taste for scenes of Scottish rural and domestic life. Dissatisfied with his apprenticeship as a seal engraver, the seventeen-year-old Hutchison secured a place at the Manufacturer’s School of Art in Edinburgh, where he studied under William McTaggart. Here, Hutchison cultivated an admiration for McTaggart that would endure for the rest of his life, and which in part inspired Hutchison’s loose painterly technique and interest in everyday rural life. Hutchison developed a successful artistic career – he exhibited regularly at the R.A. and R.S.A., and was elected to a number of prestigious institutions throughout the UK. He is remembered today as an important Scottish painter of the early twentieth century. Hutchison’s painting is distinguished by its considered deployment of colour: while in certain areas paint is applied in a more meditative, studied and precise manner, in other areas the application comprises of dynamic and frenetic flicks of vibrant colour. His connections with British Impressionism are clear, particularly when his figures are situated outdoors, where he demonstrates a remarkable ability to convey an immersive atmosphere through his varied brushwork. Look, for example, to the warm rays that dapple the smock of The Young Gardener, which Hutchison has conjured with careful, spare touches of pale yellow paint. Despite being composed of yellow, green and blue strokes, the surrounding foliage appears fully-realised, and seems almost to rustle with life. In On the Dunes, Holland and Dutch Coffee, Hutchison’s distinctive vision is applied to scenes of Dutch life. These are of particular interest given Hutchison’s enduring fascination with the Hague School. Hutchison visited Holland in 1905, and was profoundly inspired by the paintings he encountered there, which he felt captured the reality of daily rural life without idealisation or romanticisation. He was particularly struck by the work of Jozef Israëls (1824-1911), who painted scenes from the lives of fishermen, peasants or children. Upon his return to Scotland, he committed to painting en plein air with a looser, lighter, more painterly approach. He eschewed the sorrow that permeated Israëls’ painting in favour of more optimistic compositions rendered in lighter, softer tones. The selection of Hutchison paintings on offer demonstrate his innate ability to compose impressionistic strokes of colour into scenes that feel at once intimate and poignant.

Framed watercolour painting signed AVH 91, Bridlington artist 55x46cm

3 native american painting includes 2 oil on boards both signed T.W.Mcauley and 1 watercolour signed tom, all 3 in matching wooden frames

E St JohnsAn Italian harbour sceneWatercolourSignedTogether with a watercolour of Lake Garda and another painting

A quantity of pictures to include a watercolour by Dennis Pannett, an oil painting signed Crook '76, prints, an embroidery, small furniture, a warming pan and a chair Location: Centre

Marek Ja?kowiec, "My new house", watercolour and ink on paper, 55 x 56cm, c. 2020. The painting from my engaged art was part of „The Lost - Lacuna Festiwal’’ which was dedicated to our influence on environment, changes and our future. Inspired by the song „The Fall” from the English rock band whith the same name is a tribute to the band lider and poet Mark Edward Smith who passed away recently. Sun cover by smog and industrial landscape with woman and a cat on balcony makes clear message. Located in Sweden, UK delivery £70.

Marek Ja?kowiec, "Cosmos", watercolour and ink on paper, 50 x 70cm, c. 2021. Painting from the „Cosmos’’ series in wihich I combine different painting technique with my own technique. Woman on this painting is a space traveller who symbolie inspiration, life and future. The cosmos is the infinite concept, life and death, time, religion and other civilizations – the most important and basic mysteries for us. Located in Sweden, UK delivery £70.

Marek Ja?kowiec, "Don Quixote", watercolour and ink on paper, 55 x 75cm, c. 2019. It is another painting from my engaged art inspired by my favourite book. Title character in modern times fighting for better environment and better world. It is also my artist way. Located in Sweden, UK delivery £70.

William Cruickshank (1848-1922) - Still Life with Fruit on a Grassy Bank, signed, watercolour on ivory, oval, 13 x 10cm, Victorian gilt floral decorated frame and plush lined rosewood box frame With over painting and restorations; support warped, frame undamaged

Michael Taylor (South African 1979 - ) ABSTRACT FORMSwatercolour and acrylic on paper20 by 20cmPROVENANCEAcquired directly from the artistMichael Taylor draws on illustrative narratives that surround and inform his everyday thinking. He communicates his daily interactions through the technique of brightly coloured abstract painting. 'Abstract Forms' is a mixed media piece consisting of watercolour and acrylic paint and is one of Taylor's smaller artworks. In his artwork, Taylor's use of primary colours, particularly cadmium and ochre yellows, highlight the figurative shapes on paper. The abstract representation of these patterns enhances the strong yellow diagonal lines and red horizontal brushstrokes, and add another dimension to the painting as solid focal points. - E.K.WHATIFTHEWORLD Gallery Cape Town, Michael Taylor, Accessed May 11 2021, https://www.whatiftheworld.com/artist/michael-taylor/Mutual Art, Michael Taylor Abstract Forms, Accessed May 11 2021, https://www.mutualart.com/Artwork/abstract-forms/58E287B80AE53F4A

Walter Battiss (South African 1906 - 1982) DRIFT, SOMERSET EASTsigned, dated 23.10.1981 and titledwatercolour on paper33,5 by 47cmPROVENANCECommissioned by the current owners from the artistThis work was commissioned by fellow inhabitants of Somerset East, which happened to be Walter Battiss' home town. The painting has never come to market and was produced in 1981. The artist passed away in 1982.Very typical of the watercolour landscapes that he was producing in the last few years of his life, where the subject matter was figurative, rendered in relaxed yet defined brushstrokes. Fantastical elements crept into these works in his colour palette. Purples, mauves, oranges and yellows find their way into roads, shrubbery and water; colours that are just too unlikely to be natural appear in his watercolour landscapes from this period, enhancing a surreal quality to the work.Work such as 'Drift, Somerset East' were produced after a lifetime of prolific art making and a mastering of skill. It is interesting that at this stage, Battiss selected to interfere with the landscape as little as possible: "The found space is a stage spectacle, a platform, a screen, a place describing exteriority and not a physically inhabited or emotionally revealing autobiography." S.DCarman, J & Isaac, S. Walter Battiss: Gentle Anarchist, Johannesburg: Standard Bank Gallery, 2005

Gerard Stamp (1955-) is a Norfolk based artist specialising in drawing and painting architecture. This framed watercolour of 'Steps to the (Triporium)', bears artist mark, MMIX (2009) and has Westcliffe Gallery, Sheringham label to reverse, 16 1/4" x 23 1/4". Droit De Suite Royalty charges with a hammer price more than the UK sterling equivalent of €1,000 will apply. From €1,000 to €50,000 Royalties due are 4%.

An antique 19th century Meiji period Chinese watercolour painting depicting a lady on a horse surrounded by four men. Artists to the left hand signature. Comes together with a vintage 20th century Chinese plate. Picture measures 43cmx 31cm.

BARTELS, HANS VON1856 Hamburg - 1913 MünchenTitel: Junge Holländerin mit einem Tulpenstrauß in den Dünen. Technik: Mischtechnik auf Papier. Montierung: Auf Holz montiert. Maße: 100 x 81cm. Bezeichnung: Signiert unten rechts: Bezeichnung: Hans Bartels / München. Rahmen/Sockel: Rahmen. Rückseitig:Auf der Tafel Klebeetikett der Luitpold-Gruppe, Nürnberg 1906.Provenienz:Privatbesitz, Deutschland.Mit leicht erhobenem Kopf schaut uns die junge Frau freundlich und direkt in die Augen, in den Händen hält sie einen Krug mit einem bunten Strauß Tulpen. Der Wind verweht ihren Rock sowie den Sand zu ihren Füßen, im Hintergrund können wir in leuchtenden Farbtönen eine Dünenlandschaft und das aufgewühlte Meer an einen dennoch schönen Sommertag erspähen. Die vorliegende Szene, die eine ganz eigene Energie auszuströmen scheint und die die Stimmung an der holländischen Küste fast spürbar darstellt, stammt aus der Hand von Hans von Bartels. Er studierte in den Jahren von 1874 bis 1876 in Hamburg und Düsseldorf, gemeinsam mit seiner Frau, der Schriftstellerin Wanda Groß, reiste er viel. So brachten ihn zahlreiche Studienreisen an die See nach Holstein, Rügen, Bornholm, an die Kurische Nehrung sowie nach Italien und nach Holland. Auch in Hamburg und Berlin hielt er sich auf, bevor er sich 1885 in München niederließ und sechs Jahre später an der dortigen Akademie zum Professor für Malerei ernannt wurde. Hans von Bartels war Ehrenmitglied in führenden englischen, holländischen, deutschen, belgischen und österreichischen Kunstgesellschaften und erhielt zahlreiche Auszeichnungen und Medaillen auf internationalen Ausstellungen.Die holländische See und die genrehaften Szenen ihrer Menschen blieb weiterhin sein Hauptmotiv. Das Besondere an seinem Werk ist, dass er ursprüngliche Zeichentechniken, wie die Aquarell- und die Gouachemalerei, gleichrangig neben die Ölmalerei stellt. Diese Aufwertung der Techniken - die auch bei dem hier angebotenen Werk deutlich erkennbar ist - wird zum einen in den großen Formaten seiner Bilder und zum anderen anhand der sehr hohen malerischen Qualität der Ausführung deutlich. Erläuterungen zum KatalogHans von Bartels Deutschland Impressionismus Düsseldorfer Schule 19.Jh. Handzeichnungen Blumen Gouache Holland BARTELS, HANS VON1856 Hamburg - 1913 MunichTitle: Young Dutch Woman with a Bouquet of Tulips in the Dunes. Technique: Mixed Media on paper. Mounting: Mounted on wood. Measurement: 100 x 81cm. Notation: Signed lower right: Hans Bartels / München. Frame/Pedestal: Framed.Verso:On the panel adhesive label from the Luitpold-Gruppe, Nuremberg 1906.Provenance:Private ownership, Germany.With her head slightly raised, the young woman looks us friendly and directly in the eye, holding a jug with a colourful bouquet of tulips in her hands. The wind blows away her skirt as well as the sand at her feet, in the background we can glimpse a dune landscape in bright hues and the churning sea on a nevertheless beautiful summer day.This scene, which seems to exude an energy all on its own and which almost palpably depicts the mood on the Dutch coast, was painted by Hans von Bartels. He studied in Hamburg and Düsseldorf from 1874 to 1876, and together with his wife, the writer Wanda Groß, he travelled extensively. Numerous study trips took him to Holstein, the island of Rügen, Bornholm, the Curonian Spit, Italy and Holland. He also spent time in Hamburg and Berlin before settling in Munich in 1885, where he was appointed professor of painting at the academy six years later. Hans von Bartels was an honorary member of leading English, Dutch, German, Belgian and Austrian art societies and received numerous awards and medals at international exhibitions.The Dutch sea and the genre-like scenes of its people continued to be his main motif. What is special about his work is that he places original drawing techniques, such as watercolour and gouache painting, on an equal footing with oil painting. This upgrading of techniques - which is also clearly recognisable in the work offered here - is evident on the one hand in the large formats of his paintings and on the other hand in the very high painterly quality of the execution.Explanations to the Catalogue

LOHR, AUGUST1843 München - um 1919 BerlinTitel: Der mit Schnee bedeckte Vulkan Popocatépetl in Mexiko. Technik: Aquarell auf Papier. Montierung: Kaschiert. Maße: 35,5 x 52,5cm. Bezeichnung: Signiert und datiert unten rechts: August Lohr, Mexico 1908. Rahmen/Sockel: Passepartout. Provenienz: Privatbesitz, Deutschland.Leuchtende Blumenbüsche, saftig grüne Pflanzen und Bäume sowie eine verschneite Vulkanspitze - August Lohrs Aquarell bildet auf einem Blick die vielseitige Landschaft Mexikos ab und nimmt die Betrachterinnen und Betrachter auf eine Reise in ein fernes Land mit, nicht ohne auf Bezüge seines Heimatkontinentes zu verzichten. Der gebürtige Österreicher studierte an der Münchener Akademie der Künste bei Carl Theodor von Piloty und konzentrierte sich schon früh auf die Landschaftsmalerei. Seine Vorliebe galt alpinen Szenen, die er in Bayern, in der Schweiz und in Österreich auffing und gleichermaßen in seiner Wahlheimat Mexiko zu übertragen wusste. Im vorliegenden Bild kontrastieren die leuchtenden Farben der lateinamerikanischen Vegetation mit dem kalten alpenländisch anmutenden Vulkan im Hintergrund.1885 war Lohr in die Vereinigten Staaten übergesetzt und hatte gemeinsam mit William Wehner die American Panorama Co. mit dem Firmensitz in Milwaukee gegründet. Bevor er sich endgültig in Mexiko niederließ, betrieb er von 1887 bis 1900 eine weitere Panoramafirma mit dem deutschen Maler Wilhelm Heine und wirkte 1898 beim ikonischen Panoramabild "The Battle of Manila Bay" in San Francisco mit. Sein Werk ist inzwischen in diversen amerikanischen und europäischen Privatsammlungen vertreten.Erläuterungen zum KatalogAugust Lohr Deutschland Münchner Schule 2.H. 19.Jh. Handzeichnungen Landschaft Aquarell Südliche Landschaft LOHR, AUGUST1843 Munich - ca. 1919 BerlinTitle: The Snow-Covered Volcano Popocatépetl in Mexico. Technique: Watercolour on paper. Mounting: Mounted. Measurement: 35,5 x 52,5cm. Notation: Signed and dated lower right: August Lohr, Mexico 1908. Frame/Pedestal: Mat.Provenance:Private ownership, Germany.Bright flower bushes, lush green plants and trees as well as a snowy mountain top - August Lohr's watercolour depicts the diverse landscape of Mexico at a glance and takes the viewer on a journey to a faraway land, not without relinquishing references to his home continent. The Austrian-born artist studied at the Munich Academy of Arts under Carl Theodor von Piloty and concentrated on landscape painting from an early age. His preference was for Alpine scenes, which he captured in Bavaria, Switzerland and Austria and was equally able to transfer to his adopted home of Mexico. In the present painting, the bright colours of the Latin American vegetation contrast with the cold Alpine-looking mountain peak in the background.In 1885 Lohr had crossed over to the United States and, together with William Wehner, founded the American Panorama Co. with its headquarters in Milwaukee. Before settling permanently in Mexico, he ran another panorama company with the German painter Wilhelm Heine from 1887 to 1900 and contributed to the iconic panorama painting "The Battle of Manila Bay" in San Francisco in 1898. His work is now represented in various American and European private collections.Explanations to the Catalogue

Alfred Hartley (British, 1855-1933), 'Different Paths', children running down a country path, signed and dated '86' lower left, titled verso, watercolour, 25.5cm x 37.5cm, frame 54 x 42cmCondition report: The painting is a watercolour which is framed under glazing, not examined external to the frame. The colours appear well preserved, minor fading, no obvious evidence for paint loss or deterioration. The paper appears in good condition, no obvious signs of rips, creasing or losses. It is signed and dated bottom left and old labels are attached verso. The frame has minor general wear and tear.

Rebecca Anne Foster (British 1866-1951) Wallflowers in a Chinese Vase, watercolour, signed bottom left, 38 x 27 cm, frame 56 x 43 cmCondition report: The painting is a watercolour, framed under glazing, not examines external to the frame. The paper appears in good condition, no obvious signs of any rips, folds or creases. The paint condition appears in good condition, minimal fading, there are some sparsly distributed spots of foxing present. The frame has general wear and tear

Archibald Thorburn (1860-1935)A mountain haresigned 'A Thorburn' l.l., watercolour19.5 x 22.5cmThis painting is another version of the picture Thorburn produced for plate 35 of vol.2 of his well known book 'British Mammals'. Presumably, it was painted at the request of a client who particularly liked the image in the book, or perhaps it was a preliminary version of the painting he eventually produced for the plate. Condition report: Unexamined out of the glazed frame, acidic mount, some discolouration and yellowing to the paper, a few specks of foxing across the sheet, an unusual blueish mark approximately 1cm in diameter, below the hare's front paw, see illustrations.

Balthasar Wigand – Elfenbeinschatulle mit Gouache "Manöver vor den Toren der Stadt Wien" Rechteckige hölzerne Kassette auf vier Kugelfüßen aus Elfenbein. Die Seiten und der scharniergelagerte Deckel mit fein durchbrochenen Elfenbeinplatten belegt (stellenweise kleine Fehlstellen), darunter originale Bespannung aus naturfarbener Seide. Im Deckel unter Glas eingelassene farbige militärische Szene in Wasserfarbe auf Papier. Darstellung einer Truppenparade aus Infanterie- und Kavallerieeinheiten vor den Toren der Stadt Wien. Im Vordergrund eine Gruppe Offiziere. Links unten signiert "Wigand". Das Innere mit rotem Samt ausgeschlagen. Abschließbar, Schlüssel liegt bei. Bildmaße 9,2 x 17,2 cm, Maße der Kassette 10 x 25 x 16,5 cm.Balthasar Wigand (1770 - 1846), österreichischer Maler, der vor allem durch seine detailgetreuen Miniaturansichten Berühmtheit erlangte.Provenienz: Aus altem österreichischen Familienbesitz.Achtung - Versand in Nicht-EU-Staaten unterliegt CITES Regularien.Zustand: II -Balthasar Wigand – an ivory case with gouache, "Manöver vor den Toren der Stadt Wien" The rectangular wooden casket on four ball feet made of ivory. The sides and the hinged lid inlaid with finely openworked ivory plaques (minor defects in places), below which is the original covering of natural-coloured silk. A colourful military scene in watercolour on paper is inset under glass in the lid. Reproduction of a military parade of infantry and cavalry units before the Viennese city gates. A group of officers in the foreground. The signature "Wigand" at the bottom left. The interior lined in red velvet. Lockable, the key is included. Size of the painting 9.2 x 17.2 cm, dimensions of the casket 10 x 25 x 16.5 cm.Balthasar Wigand (1770 - 1846), an Austrian painter who primarily achieved renown for his highly detailed miniature views.Provenance: From an old Austrian family estate.Attention - shipping to non-EU countries subject to CITES.Condition: II -

Sally Oyler (b.1959) Emperor Preening Chick Signed Oyler (lower right) Watercolour 32 x 22cm 55.5 x 44cm (including frame) Horatio's Garden will receive 50% of the hammer price. Sally Oyler travels widely, drawing inspiration from a variety of subjects and encounters, with amazing wildlife being the closest to her heart. One of her most inspiring journeys took her to see the Emperor penguins at their rookery on Snow Hill Island on the Antarctic peninsula. The Emperors, and especially their young chicks, were as inquisitive of her as she was of them. Sally's style of painting has been influenced by her training in graphics and textile design. Her striking, sometimes quirky perception of wildlife results in her captivating images, which often have a surprising twist. Sally has had 17 very successful solo exhibitions in Edinburgh, London and Florence and her work is in corporate and private collections in Italy, the USA, Germany, Sweden and Denmark, as well as the UK.

Lady Ann Fraser Autumn Leaves Watercolour Signed and dated Ann Fraser October 2018 (lower right) 61 x 73.5cm (including frame) Horatio's Garden will receive 100% of the hammer price on this lot. Not having had the opportunity to study art as a youngster Lady Ann Fraser went to Edinburgh College of Art in the 1980s as a mature student for four years to study Drawing and Painting. Having completed the course, where you were not encouraged to choose botanical subjects, she went to do a general course in watercolour painting at the Royal Edinburgh Botanical Garden with John Mooney and Paul Nesbit. She had her first solo Exhibition in London in London in 1991 at The Malcolm Innes Gallery and since then has exhibited widely in Scotland and London. Her work features in 'Contemporary Botanical Art' by Shirley Sherwood and is represented in many private collections. In May 2019 she had her third solo Exhibition at The Rountree Tryon Gallery in Petworth and St. James's, London. She has been awarded a Silver, a Silver Gilt and a Gold Medal by the Royal Horticultural Society.

A collection of posters including two racing, prints and a 19th Century watercolour painting, Scottish lake scene, signed with initials and dated 1878 **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR POSTING AND PACKING**

.Aardman Animations - Wallace and Gromit - Nick Park - an incredible original autographed watercolour and ink painting / sketch of the famous duo. Signed by Park to the corner, who has also added the character names. Originally given by Aardman to a local Bristol Charity event in the 1990s. Supplied with its original envelope from Aardman. On artists card. Great piece of Aardman memorabilia. Total size approx 21cm x 30cm.

From the collection of Valerie Leon - Performers Interlude -  a 20th Century watercolour on paper painting entitled ' Performers Interlude ' depicting a series of six actors / actresses in full costume mid performance. Framed and glazed. Signed by artist to corner and notated to verso. Reading Fine Art & Furneaux Gallery labels to reverse. Frame measures approx; 31.5cm x 39cm.

Aardman Animations - Wallace & Gromit - Shaun The Sheep - A rare original ink and watercolour painting sketch of Shaun The Sheep by creator Richard ' Golly ' Goleszowski (now Richard Starzak). The painting in pen and watercolour depicts Shaun The Sheep (made famous in the Wallace & Gromit film ' A Close Shave ' by Nick Park ) drinking a cup of team. The painting has been signed ' Golly ' and dated 2017. Unframed. Measures approx; 30cm x 21cm. On card.

Sir Quentin Blake CBE FCSD FRSL RDI (b.1932) - Nude - an original watercolour painting study of a nude seated female figure. On paper. Signed to the top left corner in pencil by Blake. Professionally framed and glazed to a total size of 71cm x 91cm. Sir Quentin Saxby Blake, CBE, FCSD, FRSL, RDI, is an English cartoonist, caricaturist, illustrator and children's writer. He has illustrated over 300 books, including 18 written by Roald Dahl, which are among his most popular works

Aardman Animations - Nick Park (Wallace & Gromit creator) - large autographed watercolour painting of various farm animals, in the typical Aardman manner. Signed in black ink by Park to the corner. Professionally framed and glazed to a total size of 61cm x 51cm. Originally donated by Aardman to a charity auction, then later purchased by our vendor. Great display piece. 

Aardman Animations - Wallace & Gromit - Shaun The Sheep - A rare original ink and watercolour painting sketch of Shaun The Sheep by creator Richard ' Golly ' Goleszowski (now Richard Starzak). The painting in pen and watercolour depicts Shaun The Sheep, and is signed ' Golly 2017 '. The painting is within a Christmas Greetings card. Total size of the card (when open) - 18cm x 25cm. 

DC Comics - Batman - Bob Kane - (1915-1998) - American Comic Book writer and artist - co-creator of Batman - Unique and rare ink and watercolour monochrome painting of Catwoman in a full length pose, in trademark outfit with high heels. Signed by Kane to the corner. Rare piece of Batman memorabilia. Total size approx; 25cm x 13cm. 

Josiah Boydell (British 1752-1817) The Captive, from Sterne Charcoal, chalk and watercolour 35.5 x 46cm (13¾ x 18 in.)Provenance: The collection of the late Dinny Cory (1919-2012) (nee Dawn Davidson)Exhibited: London, Shakespeare Gallery, Drawings After the Most Capital Pictures in England, 1790 no. 31Literature: Benedict Nicholson, Joseph Wright of Derby : Painter of Light (London: Paul Mellon Foundation for British Art :Routledge & Kegan Paul Ltd.; New York : Pantheon Books, 1968), p. 241-242, no. 216The present lot is a rediscovered drawing, once exhibited by John Boydell at the Shakespeare Gallery on Pall Mall in 1790. The drawing is a precise and exquisite drawing after The Captive, from Sterne by Joseph Wright of Derby completed in 1774, held by the Vancouver Art Gallery in Canada, currently on long term loan to the National Gallery of Canada.Wright was born in Derby in 1734 into a family of lawyers but he chose to move to London in 1751 to pursue his career as a painter, studying for two years under Thomas Hudson. Wright started his career focusing mainly on portraiture and landscape, experimenting with the effects of tenebrism in painting. Despite spending most of his career working in Derby, it is recorded that Wright took a trip to Italy setting off in 1773 with his wife Ann and fellow artists John Downman and Richard Hurleston.It is believed that by late summer 1774 the couple were in Rome. Whilst few canvases have survived from this period, it is believed that The Captive from Sterne is the only piece produced during his Rome visit. The subject of the work derives from Laurence Sterne's novel A Sentimental Journey, set in 1762 when Britain was at war with France and foreign travel risked imprisonment. The main character is a court jester named Yorick who imagines losing his passport, being held captive in the Bastille and eventually released because he is thought to be an important person.An engraving was made after the painting by Thomas Ryder in 1779, likely from this drawing by Josiah Boydell. The engraving was published in 1786 by John and Josiah Boydell (and likely available to purchase from the Shakespeare Gallery exhibition in 1790.)John Boydell & The Shakespeare Gallery John Boydell (1720-1804), Josiah's uncle, was a publisher whose contributions to the print-making industry helped Britain become one of the leading players in engravings: his entrepreneurial approach to the traditional artist/patron relationship put the dealer at the forefront of business representing and promoting both artists and patrons. Boydell saw opportunity in producing prints of highly prized paintings by esteemed artists, that had won prizes, such as that at the Society of Art; subsequently the print market boomed, under his guidance, during the 1760s to 1790s. Some of Boydell's greatest success came from prints after paintings by Richard Wilson, Joshua Reynolds and Joseph Wright of Derby.In 1770, Boydell rented large premises in Cheapside for his latest project producing prints based on paintings of Shakespearian subject matter, where he employed many engravers. Original paintings were exhibited in the gallery, with individual engravings and volumes of engravings together with text plates from the plays for sale. By 1789 he had to expand into a second gallery, the Shakespeare Gallery at 52 Pall Mall. However, financial pressures of the project started to prove too difficult to manage. This was caused by artists such as Joshua Reynolds demanding high prices. In 1786, Reynolds charged £500 for his painting of Macbeth and the Witches and when Joseph Wright's painting of Romeo and Juliet was rejected, Wright accused Boydell of favouritism and of prioritising artists such as Benjamin West Over others.'Has it not equal, nay much more work in it ? It is not as highly finished ? And has not the public spoke as well of it ? Then why should you attempt to make any difference in our prices?' To which Boydell responded 'Had I ever presum'd to have classed the historical painters of this country perhaps Mr Wright's name would not have stood exactly where [he] has been pleased to place himself.'This correspondence illustrates the fractured relationship between Boydell and Wright. Joseph Wright is known to have presented several works to the Shakespeare Gallery. In 1790 according to 'A Catalogue of Pictures &c. In the Shakespeare Gallery' Wright submitted Prospero's Cell, from the Tempest.John Boydell started to exhibit other works for sale, stating in the 1790 exhibition catalogue 'the following miscellaneous pictures are placed in the middle compartment of the gallery'. These works included 'The Murder of James the Fifth King of Scotland by Graham &c.' painted by John Opie and 'Portrait of G.A. Elliot, Lord Heathfield,' by Sir Joshua Reynolds.Josiah Boydell, a trained engraver, was heavily involved in the Shakespeare Gallery with his uncle. The preface for the 1790 exhibition catalogue is signed off by Josiah along with John Boydell and George Nicoll. It is also evident that Josiah Boydell was involved from an artistic perspective. After studying the exhibition catalogue of 1790 it became evident that John Boydell had thought of additional ways of making income. An additional section in the exhibition is titled 'Drawings After the Most Capital Pictures formerly in the possession of the Earl of Orford at Houghton in Norfolk, lately purchased by the Empress of Russia' located in 'the room opposite the gallery'. There is a nota bene stating 'All these drawings were made by Messrs. Joseph and George Farington and Josiah Boydell.' Indicating that John Boydell was using his talented and established team of engravers to produce drawings after notable paintings as well.This section leads through to 'Drawings after the most capital pictures in England'. The drawings were made by four artists, primarily known as engravers, Josiah Boydell, George Robertson, Richard Earlom and Joseph Farington.Exhibition number 31, hung 'over the Chimney in the Great-Room' at the Shakespeare Gallery in 1790 is the present lot. The exhibition reference can be found in the catalogue on page 137 which has been digitised and is available to browse on the British Library website. Boydell also produced another work after Wright which, like The Captive was held in the private collection of Edward Pickering Esq. titled Maria, from Sterne.The exquisite handling of the present drawing reflects the precision and accuracy approached by any trained engraver. Josiah Boydell, an established engraver, has entered the history books as a print-maker. However, the discovery of this drawing and the detailed analysis of The Shakespeare Gallery exhibition catalogue reveals a great deal more about Josiah and his artistic abilities. Condition Report: Under glass, unexamined out of glazed frame. The sheet is not laid down. Minor abrasions to the edges. Old vertical tear running from the centre of the top edge down to the top of the arch. Line surface scratching to the bottom right corner. The surface appears generally well preserved. Presented in a 18th century carved wood frame with numerous chips and losses. Condition Report Disclaimer

Edward Robert Hughes (British 1851-1914)ReveriePastel 55 x 34.5cm (21½ x 13½ in.)Edward Robert Hughes was a nephew of the Pre-Raphaelite painter Arthur Hughes, under whom he studied. He entered the Royal Academy Schools and worked with Holman Hunt, helping the elderly painter, whose eyesight was failing, to complete some of his later works. The best-known example is the large version of The Light of the World in St Paul's Cathedral, London. Hughes was also in contact with Edward Burne-Jones and knew the poet and novelist George Macdonald, many of whose books for children were illustrated by his uncle Arthur. Hughes worked mainly in watercolour, painting symbolist subjects and literary themes. He exhibited regularly with the Royal Watercolour Society, becoming an Associate in 1891, a full member in 1895 and Vice-President in 1901. He also showed at the Royal Academy from 1870 to 1911 and was represented at the first Venice Biennale in 1895. Condition Report: This work appears to be in good original condition, commensurate with age. Unexamined out of glazed frame.Condition Report Disclaimer

A gilt framed watercolour and mixed media painting, depicting a watermill

§ Roger 'Syd' Barrett (British 1946-2006)Orange Dahlias in a Vase signed and dated 'R. Barrett / Oct. 1961' (lower left) watercolour and pastel 58 x 44cmFootnote: Provenance: Gifted by the artist to Gerald Arthur Clement Harden, thence by descent within the family If you were to read his secondary school reports, there would be very little to indicate that Roger ‘Syd’ Barrett would later become one of the most significant and influential cultural figures of the 20th century, both domestically and internationally; an almost mythic figure, Barrett became an emblem of a time, place, and culture, distilled into a single individual. In 1957, Barrett began his secondary education at Cambridgeshire High School for Boys, which aimed to emulate the public-school model. The exclusively male teaching staff shrouded themselves in academic robes and crowned themselves with mortarboards. The school certainly had a profound effect on Barrett’s fellow pupil and later bandmate, Roger Waters, whose lyrics to the band’s 1979 hit, ‘The Happiest Days of Our Lives’, open with: ‘When we grew up and went to school / There were certain teachers who would / Hurt the children in any way they could’ and continues in the rest of the song to reflect upon the contemptuous and often violent treatment of pupils by some of the school’s tutors. As a student, Barrett was emphatically average and, to most of his teachers, remarkable only in his inability to follow the rules. To Gerald Arthur Clement Harden, the school’s art teacher between 1938 and 1971, however, Barrett was a conspicuous and prodigious talent and one of the very few pupils permitted to use Harden’s oil paints. Painted when Barrett was just 15 years old, the present lot was gifted to Harden by the artist shortly before he left the school and began studying art at Cambridgeshire College of Arts and Technology. Although generally perceived as an unmotivated student by most of his tutors, Harden’s support encouraged Barrett to pursue further study in painting and ignited in him a passion for art that would continue to burn until his death in 2006. Following his death in 2006, Cheffins sold the contents of Barrett's home in Cambridge, no.6 St Margaret's Square, where he had lived since 1981.

A quantity of pictures to include a watercolour by Dennis Pannett, an oil painting signed Crook '76, prints, an embroidery, small furniture, a warming pan and a chairLocation: Centre

WATERCOLOUR PAINTING OF A FOOTBALL MATCH BY CHESHIRE ARTIST ISOBEL BARBER

Paul Mak (St. Petersburg 1891-1967 Brüssel) - Frauenakt mit Pfauenfedern, datiert 1949 Aquarell und Gouache-Zeichnung auf Papier. Rechts unten signiert und datiert "Mak 1949". In Passepartout und vergoldetem Holzrahmen, hinter Glas. Bildmaße 27 x 14 cm. Rahmenmaße (kleine Fehlstellen) 38,5 x 24,5 cm. Gute malerische Qualität. Unten rechts und oben links einige Risse. Rückseitig Zeitungsartikel über den Maler. Paul Mak (Pavel Petrovich Ivanov), bekannter russischer Maler und Karikaturist, studierte im Atelier von K. F. Yuon in Moskau. Unter dem Pseudonym Paul Mak 1920 - 1921 arbeitete er als Bühnenbildner im Theater der Revolutions-Satire in Moskau. Nach seiner Auswanderung im Jahr 1922 war Mak über 20 Jahre lang Hofmaler des Schahs von Iran. Ab Mitte der 1930er Jahre lebte der Künstler in Belgien. Nach dem Zweiten Weltkrieg regelmäßige Ausstellungen in Brüssel und anderen belgischen Städten. 1958 erhielt er für seine im iranischen Pavillon ausgestellten Werke die Goldmedaille der Brüsseler Friedensgesellschaft. Zustand: IIICondition Report:russian, Russia, russie, russe, MoscowPaul Mak (St. Petersburg 1891-1967 Brussels) - a nude with peacock feathers, dated 1949 Watercolour and gouache drawing on paper. Signed and dated "Mak 1949" on the lower right. In a mount and gilt wooden frame, behind glass. Dimensions of painting 27 x 14 cm. Dimensions of frame (minor flaws) 38.5 x 24.5 cm. Painting of good quality. Several tears on the lower right and upper left. On the reverse newspaper article on the painter.Paul Mak (Pavel Petrovich Ivanov), well-known Russian painter and caricaturist, studied in the studio of K. F. Yuon in Moscow. Between 1920 and 1921 he worked as a stage designer at the Theatre of Revolutionary Satire in Moscow under the pseudonym Paul Mak. After emigrating in 1922, Mak was court painter to the Shah of Iran for more than twenty years. From the mid-1930s onwards, the artist lived in Belgium. After World War II, he had regular exhibitions in Brussels and other Belgian cities. In 1958, he was awarded the gold medal of the Brussels Peace Society for his paintings exhibited at the Iranian pavilion.Condition: IIICondition Report:russian, Russia, russie, russe, Moscow

Angela Argent watercolour painting 'Ferry across the Mersey', 23 x 20 cm. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

A group of three 19th Century Italian watercolour on paper painting depicting classical figures in various settings. One depicting a typical tavern scene with another showing two ladies fetching water from a fountain with the third depicting a musician serenading three ladies. Each being signed and being framed and glazed. Each measures approx; 27cm x 33cm.      

John Reinhard Weguelin (1849-1927)Nectanous and the Scout;The Magician before Olympiastwo, signed l.l. and l.r. respectively, watercolour25 x 39cm and 28 x 40cm;Osvaldo Tofani (Italian, 1849-1915)'Viceroy's carriage and lyers on the Bridge at Cairo'signed l.r. under the mount, watercolour34 x 44cm (3)Condition report: There is some slight foxing emerging to both the Weguelins, unexamined out of frames. The Tofani is mounted to a size of 29 x 39.5cm, however the total size under the mount is actually 34 x 44cm. There is staining to the painting and marks showing around where it has been mounted.

PATRICIA GREENWELL, N.A.P.A. (20th century Fosseway Artist). “Piazza & Cathedral, Torcello”. Signed “Greenwell” lower left; watercolour: 8¼” x 12¼”; framed & glazed; & another watercolour painting of Zakynthos by the same artist, 10¼” x 14¼”; framed, unglazed.

19th Century English school, Stooks in a cornfield, watercolour, unsigned, 27cm x 43.5cmCondition report: The painting is in good condition, the frame in poor condition

Chinese watercolour and ink painting depicting blossom branch and a songbird, approx 49cm x 65cm

A BOX AND LOOSE ASSORTED PRINTS, to include 'Saw Ohn Nyun' by Gerald Kelly, Barbara Shaw still life print, a harbour scene - name not visible, watercolour painting of St Lawrence Church - Lighthorne signed L.F.Perks 1978, assorted other prints, etc

An original watercolour and gouache painting entitled 'Rain Man' by James Dugdale, capturing Aryton Senna and his mesmerizing first lap charge in the European Grand Prix at Donington in 1993 and where, famously, the artist misspelt the car sponsors 'Cannon' using the double 'N' instead of the correct single 'Canon'. Signed lower-left by the artist. The painting later being digitally enhanced for its print run, a copy of which is included verso, signed by the artist and Donington Circuit owner, Tom Wheatcroft. Original painting 44 x 60cm, framed mounted and glazed. Print measuring 42 x 60cm.  SpecificationClick here for more details and images

An original watercolour and gouache painting by Jim Dugdale 'Two Flags and a Banner' -the PC Automotive Jaguar XJ220C of Tiff Needell, James Weaver and Richard Piper at Le Mans 1995. The last privately entered Jaguar to race at La Sarthe. Signed lower left by the artist and complete with a print of the same painting signed by Richard Piper, Tony Brooks (team patron) and Tiff Needell affixed verso. 34 x 58cm, framed and mounted. SpecificationClick here for more details and images

A framed watercolour painting of a stagecoach in a country lane signed indistinctly lower left. Painting 28cms w x 13cms h. Ebonised frame 45cms x 29cms.Condition ReportPainting appears to be in good condition. Frame with chips to corners.

A gilt framed watercolour painting signed Wm Turnbull of coastal scene with boats and figures on a beach. Painting 19cms w x 13cms h. Frame 34cms w x 28cms h.Condition ReportVery good condition. Some dirt marks to painting skyline.

A gilt framed watercolour painting by Natalie Brannigan "Boy Best Christmas". 18cms x 14cms.Condition ReportVery good condition.

Unframed watercolour painting on card by Anthony Theobald 1985. WW1 aircraft dogfight, Red Barron card size 44cms h x 33cms w.Condition ReportVery good, no noticeable issues.