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Michael Angelo Hayes (1820-1877) A detailed study of a group of Napoleonic era British Highland infantry, and cavalry, including soldiers of the Black Watch, 8th King's Royal Irish Hussars and 17th Lancers, depicted advancing into the fog of war, watercolour, monogrammed, dated and located "No 34 Westmorland, Dublin, 1838", in card mount and Hogarth frame under glass, 41 cm x 32 cm overall [Hayes was an Irish watercolourist who specialised in painting horses and military subjects. He first exhibited at the Royal Hibernian Academy's exhibition in Dublin in 1840, he was also a member of the New Society of Watercolours in London and was a regular contributor to their exhibitions.]

A large quantity of prints, pictures and frames including: a small framed watercolour of a loch scene with distant mountains,a framed painting of an Eastern gentleman with a bird of prey, a framed atmospheric picture on fabric of ancient ruins signed M. Fereyo?, a framed painting of a lady poring tea, a framed Sepia picture of the galleon H.M.S. Worcester, a framed colour print of a Lancaster bomber in flight after Coulson, a framed print "The Charge of the Light Brigade", a framed watercolour of an arched marine rock formation, signed M. Cooper?, a framed colour print of the launch of a lifeboat in early times, a framed picture of an archway in an Eastern township, a framed colour print "The Paras are Landing", a framed painting of a young girl with long hair, a pair of small framed colour prints of a monument framed by an archway and a castle beyond a bridge, a framed early engraving "Woodcock Shooting", etc.,

Mary Cummins (20th century) Apples, oranges and lemonstwo still lifes, oil on canvas laid on board13 x 27cm and 16 x 23.5cm;together with a further study of lemonssigned with initials l.r., watercolour16 x 24cm (3)Provenance: The collection of Dr Fox.Condition ReportFramed: 19.5 x 33cm, 22 x 29.5cm and 22.5 x 30cmLight surface dirt. The oil painting of the apples and lemons has pinholes to the bottom right corner and there are some fine vertical cracks starting to emerge along the top and bottom edges. The edge of the canvas is visible in the bottom left corner. There is a faint white vertical line 8cm in length to the upper right quarter of the watercolour study of lemons. Not viewed under UV light or out of the glazed frames, for a full report please contact the department.

Henry Andrew Harper (1835-1900) watercolour painting of a boat on a lake with a mountain in the background - frame 37.5cm x 45cm

Gertrude Annie Lauder (1855-1918) watercolour painting of a fishing village side street - frame 40.5cm x 30cm

Frederick James Aldridge (1850-1933) Marine School framed watercolour painting of boats on a river - frame 52cm x 63cm

Ronald 'Ron' Cyril Benjamine Jesty (1926-2016) watercolour painting of a pear on a plate (1996) - frame 39cm x 34.5cm

Gertrude Annie Lauder (1855-1918) watercolour painting of a fishing village - frame 30cm x 40.5cm

KW signed watercolour painting of a group of 5 farmers with a couple of sheepdogs - frame 36.5cm x 44.5cm

Ronald 'Ron' Cyril Benjamine Jesty (1926-2016) watercolour painting of sprats (1992) - frame 33cm x 39cm

Daphne Harrison(Contemporary)"Life Size Painting of a Tyne Salmon", caught by John Davison on Lower Chesters on 9 October 2004, estimated weight 28-30lbs,signed,watercolour,28.5 x 105cms, in frame.

TWO FRAMED CHINESE TRIPTYCH PITH PAINTINGS OF BIRDS, LATE QING - The two outer paintings in each frame depict two or three birds on branches with a central painting of birds on land, watercolour and bodycolour on rice paper, margin size: 19.3 x 31 cm each, frame size: 34.5 x 115 cm, both mounted, glazed and framed (2)All six paintings have signs of foxing and discolouration.Minor surface indentations to the paper with cracks to the paper on three paintings: Central blue crested birds; and outer two paintings of blue tailed birds and parrots in the second frame.

FOUR EARLY 20TH CENTURY CHINESE PAINTINGS, to include: Eight Immortals Battle of the Eastern Sea fighting minions of the Dragon King, watercolour on silk, 30 x 104 cm; Pair of paintings depicting Sanxing (Three Gods of Fortune), watercolour on silk, with inscriptions and red seal marks above, 17 x 23 cm; with one other painting of four deities, watercolour on paper, all mounted, glazed and framed (4)

A SET OF THREE CHINESE PITH PAINTINGS, QING DYNASTY - Each finely painted depicting various figures including Emperor and Empress sitting in their throne being presented a ruyi sceptre and attendants, watercolour on rice paper, margin size: 27 x 19 cm, mount size: 33.5 x 41 cm each, mounted and unframed (3)Empress: Patch of restoration above throne. crack across painting from right edge approx. 8 cm long with two small cracks below that. Tear to lower left corner. Emperor with one attendant: Restoration to lower right edge, area of loss to lower left corner, small crack to upper right edge. Emperor with two figures: crack with small area of loss on Emperor's face. Restoration to lower left corner. All have marks and discolourations as expected for their age.

KOSAN (artist 1877-1945) Japanese watercolour of Water Iris in a pond, signed by artist (see enclosed note on artist Koson attached to reverse of painting)

EDWARD LEAR (BRITISH 1812-1888) EL KAB, EGYPT Pen, ink, and watercolour, heightened with white Inscribed with title and dated '13 Feb 1854' (lower left), colour notes throughout 20 x 33.5cm (7¾ x 13 in.)Provenance: Leger Galleries, London, November 1970 Dreweatt Neate, Donnington, Pictures and Books, 23 May 2007, lot.6 Edward Lear travelled to Egypt in 1854, following the Nile south. During his travels he was astonished by the beauty of the landscapes and the villages, which he described as 'fairy islands', each of which capable 'enough to occupy an artist for months'. Albeit in his letters he lamented about the difficulty of painting, for 'the colours dry fast, and sand injures them,' the climate did not stop him analysing and painting what he saw; when informing his elder sister Ann about his daily routine he wrote: 'I have been at work every day throughout the whole daylight, and so charming is the place and the climate that I shall be very sorry to leave it'.  

AFTER THE WORKSHOP OF SANDRO BOTTICELLI THE VIRGIN AND CHILD WITH ST. JOHN AND AN ANGEL Oil on canvas, tondo 85cm (33¼ in.) diameter Provenance: John Anster Fitzgerald and by descentAfter the work in the National Gallery London, catalogued as The Workshop of Sandro Botticelli, NG275. When the National Gallery's painting arrived in London in 1855, a great excitement spread in the city, bringing numerous artists to see it and producing copies. This version belonged to John Anster Fitzgerald, an artist known for his fairy themed pictures. When the painting arrived in London, Fitzgerald was only twenty-three, and must have inspired him deeply. Albeit it is difficult to prove that Fitzgerald painted this copy, he did copy paintings from the National Gallery, such as his watercolour version of Turner's Ulysses Deriding Polyphemus, sold at Dreweatts, 26 May 2022, lot.159. Condition Report: The canvas has been relined which is providing good support. There is fine surface cracking. Under UV light there are several long lines of restoration across the image . One running from the Madonna's neck to the infant Christ. There are two other lines on either side of this and two in the lower half, in background areas. It has been cleaned and revarnished. Condition Report Disclaimer

Pictures, frames and artists materials to include, an acrylic painting of boats, Jelbert watercolour, a collage of vintage and later food labels watercolour paper and other itemsLocation:

A selection of framed and glazed pictures to include an unsigned watercolour drawing of Boulter's Inn and bridge before, six prints of Charles Dicken's illustrations and portrait from the originals held in the collection of James Buchanan& Co Ltd, Scotch Whisky Distillers, two Japanese prints, an oil painting and others, Location: G

Elsie K. S. Powell (1895-1975) 'View of a church town', watercolour, monogrammed lower left, 18cm x 11.5cmThe frame with scuffs and overall signs of wear. Some marks to the mount. Damage to the top right corner of the frame. There is no glass in this frame. The painting itself seems ok overall. 

Winifred J Sawyer (20th Century School) 'Bridge across the Derwent', watercolour, unsigned, 26cm x 37cm and Eleanor Gibson Reid, 'Wreck of the Marcia C. Day', oil pastel, signed lower right, 27cm x 32cm (2) Overall display wear and some scuffs to the frames. The pictures themselves seem ok. Sawyer painting has no glass.

M. Zampella (Italian, 19th Century)Untitled: Washing in a River, oil on board, signed to the lower left, approximately 44.5cm x 60cm, together with Claude Scott (19th Century), Untitled: Figure on a Country track, watercolour, signed and dated 1883 to the lower right, approximately 45cm x 62.5cm together with (2) Zampella painting with small losses. Zampella painting with craquelure. The frame of Zampella painting with small losses/chips, splits and with signs of wear consistent with age and use. The back of the Zampella painting frame with evidence of glue and remains of old tape and label. The back of the Zampella painting frame with blue staining and water damage/staining. The frame of the Scott painting with small losses, splits and signs of wear consistent with age and use. The back of the Scott painting frame with tape attached and with possible water damage/staining.

Norman Wilkinson (British, 1878-1971), ‘ The Company’s Research Laboratory, Fulham ’, watercolour on paper. The work depicts a man at work in the laboratory of The London Gaslight & Coke Companies Headquarters, Fulham, London. Signed ‘ Norman Wilkinson 1930 ‘ to lower left. Framed and glazed. Wilkinson, mostly famed for his maritime images, exhibited his work over 500 times. An illustrator and poster artist, he also made an important contribution in both World Wars in the field of dazzle camouflage. Through the dissemination of his posters at railway stations, schools, and government offices, he became one of the countries most famous artists. He was knighted and appointed CBE in 1948. A regular exhibiter at the Royal Academy, Wilkinson was the president of The Royal Institute of the Painters in Watercolours and a member of The Royal Institute of Oil Painters. Provenance, the vendors father worked for North Thames Gas board and acquired the painting from the pictured Laboratory. 53cm x 35cm.

Thomas Charles Barfield (British, 1858-1939), ‘The Smuggler’s Cave’ (1924) watercolour on paper. Small watercolour with gouache highlights landscape painting of Smuggler’s Cave. Framed and glazed, titled lower left, signed and dated ‘ T C Barfield 1924 ‘ lower right. 18cm x 19.5cm.

A mid twentieth century mixed media painting on board. Watercolour or maybe gouache and ink. A well worked town scene with a church tower at the centre signed 'McCulloch' and dated 1947. H.32 W.25cm.

A collection of assorted pictures and limited edition prints, together with an oval bevel edge mirror. To include C.D Nowell watercolour, Elsa Toms oil painting and prints depicting areas in Chesterfield and Derbyshire.

FRANK E. COX (BORN CIRCA 1850, FLOURISHED 1870-1894) 'RUNAWAY', a charming depiction of a young girl chasing after a runaway calf in a landscape setting, signed and dated 1879 bottom right, original title label verso, watercolour on paper, approximate size 23cm x 35cm, Condition Report: the painting is in good condition, small amount of damage to the corner edges of the modern frame

▴ Ronald Maddox PPRI RWS RBA (1930-2018) 'Landforms, Abbotsbury'signed 'Ronald Maddox' l.r., with artist's studio stamp affixed verso, watercolour28 x 49cmCondition ReportFramed: 45 x 66cmThere is some foxing and discolouration to the edge of the painting and the margins. The colours are strong. Not viewed out of glazed frame.

▴ Ronald Maddox PPRI RWS RBA (1930-2018) 'Tracks on Bodmin Moor'signed 'Ronald Maddox' l.r., inscribed with title and dated '3/2006' verso, watercolour over pencil45 x 58cm, unframedCondition ReportOverall: 55.5 x 70cmThe colours are clear and bright and the work appears to be in good overall condition. The unpainted borders have some small dirty marks and scuffs and are edged with brown paper tape. There is a light diagonal crease in the upper right corner but the painting itself is not affected.

▴ Ronald Maddox PPRI RWS RBA (1930-2018) 'Much Wenlock Priory'signed 'Ronald Maddox' l.r., watercolour over pencil59.5 x 41.5cm, unframedCondition ReportThe work is painted on card which measures 70.5 x 51cm overall. The unpainted edges have some dirty marks and scuffs and there is tape stuck to the centre of the left and right edges. The painting itself appears appears to be in good condition.

Jeremy Paul wildlife watercolour painting depicting a robin together with a water colour of swans. Both signed. Famed and glazed. Measures 48 x 37cm and 33 x 40cm .

Peter Partington SWLA (b.1941) - watercolour painting of a pair of partridges in foliage together with a water colour of a green parakeet. Measures 42 x 29.5cm and 47 x 41cm.

William Bruce Ellis Ranken (British, 1881 - 1941), 'The Redcoat', a young Lance Corporal in the Royal Horse Guards, (believed to be Harry Frankland), signed with monogram, and dated 1915, oil on canvas, with hand written label verso, 108.5 x 85cm, in later gilt frame Notes: The painting was first shown at the 4th National Portrait Society Exhibition held at The Grosvenor Gallery, 51a New Bond Street, London in March and April 1915. It was subsequently reproduced on the front cover of the magazine 'Colour' in June 1915. The painting was further exhibited at The Royal Scottish Academy in the summer of 1916 (no. 164). The sitter appears to bear a strong resemblance to the figure in Ranken’s oil 'Trooper of Royal Horse Guards, in Walking-Out Dress' (National Army Museum collection) and a watercolour in the collection of Warrington Museum and Art Gallery, both of which were gifted by the Ranken family. In 1915, Ranken also exhibited a large oil of a portrait group entitled ‘Life Guards’, the central figure has the same head as Warrington Museum’s painting and a strong resemblance to 'The Redcoat’ sitter. According to Ranken's papers, the painting was lost in the early 1920’s following an unauthorised sale of some of his works. Furthermore, there appears to be no auction records for 'The Redcoat'. This could be the first time the painting has appeared in the public domain in over 100 years. Information courtesy of Wendy & Gordon Hawksley, for further details we recommend that you contact - www.williamranken.org.

Oriental watercolour of huntsman, Winter Moonlight at Rydal by Jeff Suddens and bridge oil painting

Framed picture of Workington Railway Station, oil painting of Cockermouth Castle by Marie Roope and watercolour by Susan Fleming of Cockermouth

* JAMES HARRIGAN (SCOTTISH b. 1937), THE HANGING BASKET watercolour on paper, signedmounted, framed and under glassimage size 28cm x 38cm, overall size 52cm x 62cm Label verso: The Macauley Gallery, StentonNote: James Harrigan is a graduate of Glasgow School of Art where he studied Painting and Printmaking between 1956 and 1961. He was born in Ayr in 1937 and has continued to live in Ayrshire all his life. He taught Art for many years and was an inspiring teacher with many of his pupils going on themselves to develop successful careers as artists. In recent years James has spent time in the West Indies and in Brazil but he never tires of painting the landscape and coastline around his Ayrshire home and elsewhere in Scotland. He is known mainly as a landscape artist but his landscapes are almost invariably informed by a human presence and day to day activities, a sense of life being lived. This may be actual figures or it may be a suggestion of human life through buildings, gardens, boats.... He is an expressive painter working mainly in oils but also in watercolours, using the rich, luscious quality of the paint to great effect. He exhibits widely and has work in many collections including those of the House of Lords, Glasgow University, P & O Cruises, Wigtownshire Education Trust and the Maclaurin Gallery. He is a past winner of the prestigious Laing Landscape Competition and the Scotsman Art Competition. In The Scottish Contemporary Art Auction of 10th November 2022, lot 52 "Girvan Harbour" a 48 x 58cm oil on board (dated 1998) by James Harrigan sold for £2200 (hammer) and in our December 2023 auction "Sailing at Elie" achieved £2400 (hammer)

Margaret Rayner (1837-1920) Priory or Ruins with Sheep,  watercolour, signed lower left, framed and glazed, painting approx. 11.5cm x 16cm, label verso in pencil.

David Bates (1840-1921) watercolour, "A lane near Defford, Pershore" signed, inscribed verso, framed and glazed, painting approx. 45.4cm x 26cm.

Edmund Morison Wimperis R.I (1835-1900) The way across the Stream, watercolour initialled lower left, dated (18)95, labels to verso, framed and glazed, painting approx. 20.5cm x 29.5cm.

An early 19th century portrait miniature of a gentleman in a brown coat, 3 1/2" x 3", in gilt frame Condition: Watercolour on ivory.  No visible problems on painting, one or two small chips on frame. Overall size 8 1/4" x 7 3/4"

David Woodlock (British, 1842-1929),'Bidston', [Old cottage behind the church, Bidston, Cheshire],Watercolour on paper,Signed and titled lower left, named and subtitled to mount,25cm x 17cm,Framed and glazed CONDITION REPORT:The painting is framed under glass and has not been removed for inspection.  The paint surface appears to be in good condition, showing no obvious damage, however the sky shows a slight amber tinge which may be minor staining, (although the proximity to the chimney suggests that this could equally be a representation of smoke and as the artist intended).  The colours remain strong, but may have faded somewhat over time.  The frame shows wear to the gilt finish.

David Woodlock (British, 1842-1929),A Venetian scene with friends sharing an umbrella passing San Marco on a rainy day,Watercolour on paper,Signed upper left,25cm x 17cm,Framed and glazed CONDITION REPORT:The painting is framed under glass and has not been removed for inspection.  The paint surface appears to be in good condition, showing no obvious damage, deterioration or foxing.  The colours remain strong, but may have faded somewhat over time.  There is a darker area in the upper left quadrant, but the artist's signature runs partially over this, suggesting the area is as the artist intended.  The paper shows a slight wave across the surface, but sits largely flat at the edges of the mount.  The frame shows various small losses to the moulded details.  The glass would benefit from cleaning.

Quantity of watercolour painting books and DVD's. Not available for in-house P&P

A* D* Bell, Off Newlyn,signed and dated 1947, watercolour, 23.5x36cm.Condition report:There is a small amount of foxing to the sky. The painting is framed and glazed.

A 20th century John Greensmith (b.1932) watercolour painting. The painting depicting two young children positioned on rocks by a river, fishing. The painting signed to the bottom left corner. Framed and glazed. Measures approx. 

FOUR BOXES AND LOOSE ASSORTED PRINTS ETC, to include late 19th century topographical prints, a Leonard Campbell Taylor open edition print 'The Sampler' published 1933, a Chinese watercolour painting on fabric, an Indo-Persian gouache hunting scene, etc.

William Edgar Mayer FRSA (1910-2002, British), watercolour, 'Coastal Forms II', signed to the lower right, framed, mounted, and under glass, measuring 15cm x 20cm, & 36cm x 42cm overall, together with another watercolour painting by the same artist, entitled 'House & Trees' (2)

Edward Lear (British, 1812-1888), watercolour sketch, 'Ravenna 10.30 AM May 5 1867', marked in pencil verso. 16.4cm x 24.9cm.Lear is known to have done another, almost from the same spot (different light), which was sold at Bonhams lot 71 on the 9 June 2015. The present picture shows Lear's man servant Giorgio and this one also has sketching instructions and the same date, style and brown ink writing, with the time of 10.30am (the Bonhams example '8 am' and sold for £3750) Condition Report: Overall in good condition. The mount has some spots of water damp and discolouration and scuffs. The painting has a small number of extremely faint water marks in the sky area. The colours are bright. No obvious alterations. The paper is not torn or repaired.

***S. J. (Toby) Nash (1891-1960) - Watercolour - "Mercery Lane Canterbury", with Boots Chemists shop, signed and titled, 11ins x 14.25ins Provenance: The vendor's Uncle, James Merryfield, one time manager of Boots, acquired this painting from the artist

Henry Hadfield CUBLEY, (1858-1934) watercolour painting couple walking, mountains scene, 38cm x 51cm, signed to front, in later gilt frame.

John Spence Ingall (Staithes Group 1850-1936): Misty Moorland, watercolour signed, with a similar painting verso (within frame) 26cm x 38cm

Two early 20th century circa 1915 Walter W. Goddard watercolour seascape coastal paintings. Each painting depicting beachside scenes of the Gower peninsula coast. The paintings being glazed and framed in wood and gesso gilt frames. Measuring approx. 55cm x 41cm.

Frank Winston Shipsides (1908-2005) - Bristol Savages - A 20th century 1982 Frank Winston Shipsides 'Imagination' framed and glazed watercolour painting. The painting depicting two ships, a steamer and a sailing ship, at sea. The painting titled 'Imagination' to bottom left corner, and signed and dated 'Frank Shipsides - 1982' to the bottom right. Measures approx. 42cm x 51cm.

John Henry Mole (1814-1886) - A watercolour on paper painting depicting St Michael's in Bratislava, Slovakia. Titled Michalska Tower in Bratislava. Framed and glazed. 

A late 19th century circa 1890s watercolour coastal scene painting. The painting depicting cliffs stretching out over the sea, with a rowboat and a sailboat adjacent. The painting being signed to the bottom left corner, attributed to an 'A Fisher'. Measures approx 58 x 83 cm.

William Leighton Leitch RWS (1804-1883) Lago Maggiori, signed lower right, dated 1859, watercolour, 17.5 x 27.5 cm, frame 38 x 48 cmProvenance: Collection of Mr Magdi Obeid, purchased Bonhams 27/11/2013 lot 223 Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet appears in generally good condition no obvious faults or losses, the paint condition appears well preserved and the surface stable. The colours are good. There is a potential abrasion visible to the centre- top in the skyline. The inside of the glass could do with a clean. THe frame has general wear and tear, joints appear fine. There are additional photographs now available on the catalogue.

Claude Marks RWS RBA ROI (act. 1899-1915) View from Kynance Cliffs over Kynance Cove towards Lizard Head and Trevob Bay, signed lower right, watercolour, together with a view of Trevob Bay (2). Larger watercolour measures 32 x 49 cm, frame 41 x 58Provenance: Collection of Magdi Obeid, purchased Dominic Winter 25/02/2015 lot 289*one has cracked glass Condition:Both watercolours are framed under glazing, not examined external to the frames. The smaller painting: the sheet appears well preserved, no obvious evidence for tears, losses or deterioration. The paint condition appears well preserved and surface stable, no obvious paint loss. General wear and tear present to the frame. The larger painting- the sheet appears good, no obvious losses or tears, there is some dust/dirt. There are some spores visible inside the glass which needs cleaning- the glass is also cracked and needs replacing. The paint surface appears well preserved, colours are good, no obvious losses or deterioration. The frame has general wear and tear.

Attributed to John Varley (1778-1842) Eton College at Dusk, watercolour, 24.8 x 37.5 cm, frame 52 x 64 cmProvenance: Collection of Mr Magdi Obeid, purchased Dominic Winter 08/12/2012 lot 46 Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. Sheet appears overall good condition - some wear and tear to the top left corner (see image). There are a few isolated and sparsly distributed spots of foxing- mostly to the left side. The overall paint condition appears well preserved and stable, the colours are good. An additional, slightly faded signature is visible to the lower right (see image). Frame has general wear and tear.

Samuel John Lamorna Birch RA RWS RWA (1867-1955) Moorland Bridge, signed lower right, watercolour, 25 x 35 cm, frame 45 x 53 cmProvenance: Collection of Magdi Obeid, purchased Hartleys 22/03/2017 lot 444, Exhibited at the Royal Society of Painters in Watercolour, ex collection of J Rainsrick(?) Condition:The painting is a watercolour, framed under glazing- not examined external to the frame. The sheet is in good condition- no obvious faults or losses, the surface appears stable. The paint surface appears well preserved, colours are good, no obvious loss or deterioration. The frame has some general wear and tear.

Attributed to George Arthur Fripp RWS (1813-1896) Clovelly Beach, watercolour, 22 x 40 cm, frame 38 x 55 cmProvenance: collection of Mr Magdi Obeid, purchased from Sothebys 16/07/1992 lot 138 Condition:The painting is a watercolour, framed under glazing, not examined external to the frame. The sheet appears generally good- no obvious losses or tears. The paint has some potential minor colour fade, otherwise appears stable. Frame has minor wear and tear. Additional photographs uploaded to the catalogue.