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RONALD LAMBERT MOORE MEMBER OF THE BRITISH WATERCOLOUR SOCIETY, BWS, 1927-1992, FRAMED WATERCOLOUR PAINTING TITLED UNLOADING THE CATCH, KING EDWARDS BAY TYNEMOUTH, SIGNED AND DATED 1984

Richard Westall, a watercolour of David Rizzo - after the original painting of 1564, framed under glass, size overall 29 x 36cm

A early 20th century watercolour painting of St Pauls Cathedral from the river Thames with label to verso, mounted in carved gilt wooden frame.

Propaganda Poster: Your King and Country Needs You, Enlist Now, published by The Parliamentary Recruiting Committee, London Card No. 105, 22cm by 39cm, framed; together with ''Cobb'' ''The Faithful Durhams'', signed, watercolour and bodycolour, 35.5cm by 26cm; A Dunlop Tyres Embossed Advertising Card, 29cm by 23cm; After AM Hughes Grog, Sunday Rounds and Defaulters, black and white prints, published by Gieves Ltd, Portsmouth, 9.5cm by 70cm (a set of three) (6). Propaganda poster: General oxidisation to the surface and foxing throughout. Three black and white rectangular prints are all in good condition. The faithful Durhams: Watercolour painting on card, card backing is split to the left hand side 7cm length, edges and corners are dented and bent with some losses, unframed bicycle picture in good condition

WILLIAM WELLS QUATREMAIN (1857-1930) "Shakespeare's Monument, Holy Trinity Church, Stratford-upon-Avon", (set in the north wall of the chancel, believed to be the work of Gheerart Janssen), a Watercolour painting, signed in monogram and dated 1916, 36cm x 23cm, unframed

GEORGE MAZILU (Romanian / French b. 1951) 'Figure-head & Shoulders', Watercolour painting, signed and dated (19)85, 65cm x 49cm, plain frame, mounted and glazedCondition report – Good condition.

GEORGE MAZILU (Romanian / French b. 1951) 'Profile Portrait - Black line over Eyes', Watercolour painting, signed and dated (19)87, 65cm x 50cm, plain frame, mounted and glazedCondition report – Good condition.

CAMILLE PISSARRO (1830-1903)Rouen, bateaux à quai sur la Seine signed and inscribed 'Rouen C. Pissarro' (lower right)watercolour and crayon on paper22.7 x 29.3cm (8 15/16 x 11 9/16in).Executed circa 1896-1898Footnotes:Dr. Joachim Pissarro has kindly confirmed that this work will be included in the forthcoming Catalogue Raisonné of Drawings by Camille Pissarro.ProvenanceJPL Fine Arts, London, no. 289/3041.Private collection, London (acquired from the above on 14 January 1991).In the final two decades of his life, Camille Pissarro frequented Rouen to explore the pictorially rich harbour city with its many striking motifs. This work was likely executed on one such trip in either 1896 or 1898. During Pissarro's outings to Rouen he developed a new practice of repeating a given subject; a style that would characterise the artist's urban works going forwards.Whilst the present work is not a study for a known painting, the scene presented is particularly prominent in a number of his works from this two-year period, with the blue ship and background docks serving as vital motifs.Camille Pissarro wrote to his son Lucien on 2 October 1896 about his series of paintings from this period: 'In the foreground boats and the water, to the left of the station the working-class district that runs all along the quays up to the iron bridge, the Pont Boieldieu; it's morning with a fine misty sunlight. Oh well that idiot Mourey is an ignoramous to think that this is banal and down to earth, it is as beautiful as Venice, my dear, it has an extraordinary character and it is truly beautiful' (JBHIV, no. 1309).For further information on this lot please visit Bonhams.com

* English School. Portrait of an Officer of the Light Dragoons, early 19th century, watercolour and gouache on ivory, oval half-length portrait, half-profile to right, of a dark-haired young gentleman wearing a frogged scarlet coat, 72 x 58mm (2.75 x 2.25ins), oval ebonised frame, glazed, together with: Portrait of a military gentleman, early 19th century, watercolour and gouache on ivory, oval half-length portrait, half-profile to left, of a fair-haired young gentleman wearing a blue coat with gold epaulettes, 77 x 65mm (3 x 25ins), ebonised frame, glazed, Portrait of a Napoleonic period British officer, circa 1810, reverse painting on glass, oval half-length portrait, profile to left, of a military gentleman wearing a scarlet coat with gold epaulettes and a plumed bicorn hat, 115 x 87mm (4.5 x 3.5ins), framed and glazedQty: (3)

* Eye Miniature. Portrait of lover's eyes, circa 1820s/30s, oval watercolour on ivory, depicting a pair of youthful feminine grey-green eyes, dark eyebrows, and a slightly upturned nose, 24mm x 36mm (1 x 1.5ins), blue velvet mount, set into oval hinged yellow metal and brown morocco case, lid lined with blue moiré silk, 50 x 65mm (2 x 2.5ins)Qty: (1)NOTESA rare example of the curious practise of painting a portrait of a person's eye or eyes divorced from the rest of his or her visage, save with the inclusion sometimes of a nose or some curls. The fashion for this type of portraiture was short-lived, beginning around 1785 and petering out in the 1830s. Such enigmatic and intimate portraits were usually commissioned as a love token to present to a beloved, although some were painted in memory of one deceased.

* Indian School. Miniature painting of a mosque, circa 1850s, oval watercolour on ivory, 39 x 49mm (1.5 x 2ins), together with 10 other Indian miniatures similar, comprising 2 portraits of ladies highlighted in gold, both rubbed (one heavily), a small framed and glazed oval view of the Qutb Minar, a tiny view of the Taj Mahal set into a white metal stud, and 6 other oval views of temples, all broken at edges and apparently fragments from a larger pieceQty: (11)

* Japanese scroll painting. Girl in a flowering garden, early 20th century, watercolour on silk, inset into mount of Japanese paper dyed brown, wooden rod and spool attached to head and foot respectively, image rubbed, edges of mount strengthened verso, image size 133.5 x 51 cmQty: (1)

* Attributed to George Perfect Harding (1779/80-1853). Christopher Nugent MD (1698-1775) after James Barry (1741-1806), watercolour, half-length portrait, profile to right, of the eminent doctor wearing a brown coat and dark cloak, his white hair wavy and worn to his nape, his gaze introspective, with one finger resting on his chin, and an open book before him giving a glimpse of an inscription (bearing details of Barry's original painting), 14.5 x 12.3cm (5.75 x 4.75ins), mounted, framed and glazedQty: (1)NOTESLiterature: See R. Burgess, Portraits of Doctors & Scientists in the Wellcome Institute, London 1973, 2163.1 (for another copy of the work after Barry by Harding, noted below). James Barry's original painting of Christopher Nugent, painted in 1772, now hangs in the Victoria Art Gallery, Bath. Nugent was a successful doctor in Bath during the 1750s. Subsequently moving to London he moved in intellectual circles, and was a member of Dr Johnson’s literary club. Barry produced few portraits, but personal connections may have prompted this one, as artist and sitter lived in the same street. This work closely resembles another copy of Barry's portrait by George Perfect Harding held by the Wellcome Collection: a grisaille watercolour signed 'Harding' and dated 1806 (Wellcome Library no. 7481i).

* Wood (Lewis John, 1813-1901). Market scene outside a continental church, 1866, watercolour on paper, heightened with white bodycolour, signed and dated lower left, 465 x 325 mm (18.25 x 12.75 ins) mount aperture, framed and glazed, together with: Continental church street scene, 1869, watercolour on paper, heightened with white bodycolour, signed and dated lower right, 480 x 345 mm (19 x 13.5 ins) mount aperture, framed and glazedQty: (2)NOTESLewis John Wood was particularly known for painting church scenes in and around Northern France and Belgium.

* Bright (Alfred, active c.1880-1929). Gainslaw, 1932, watercolour on paper, a portrait of the horse, signed and dated lower right, titled lower left, 33 x 43.5cm (13 x 17ins), framed and glazed, with J. Davey & Sons, Liverpool framer's label to verso, together with: ibid., Gainslaw, 1932, watercolour on paper, depicting the horse with his groom, signed and dated lower right, titled lower left, 35 x 47cm (13.25 x 18.5ins), framed and glazed, with contemporary ink manuscript artist and other details on J. Davey & Sons, Liverpool framer's label on verso, also an exhibition label with ink manuscript 'Exhibit C, Liver Sketching Club, Oct 14/32'Qty: (2)NOTESGainslaw was foaled in 1929, and in 1933 won the Ascot Queen's Vase (then called the King's Vase or Gold Vase). His trainer George Frederick Leader died with his wife in a car accident, on the way home from the race. Gainslaw was sold to a Polish princess and while in Poland sired a filly, Margaritka. As the Second World War came to an end, many Polish thoroughbred horses were taken to Russia. Here Margaritka succeeded in winning good races, and her second foal, Element, won many races including the Russian Derby. Element later sired Anilin, reputed to be the greatest horse to grace the Russian turf. Alfred Bright, a Liverpool cotton broker, was president of the Liver Sketching Club from 1919-1922, painting well-known racehorses of the era.

18th century Dutch school, a painting on glass of a young sailor, 25 cm x 18.3 cm in a wooden frame, together with an oval pastel portrait of a finely dressed lady, 45.5 cm x 33 cm, glazed in a gilt frame, a further pastel study of two children (indistinctly signed, and dated 1853) and a 19th century watercolour of a lady seated beside the sea.Qty: 4

Thomas Huson (British, 1844-1920). 'The Seine from the Hotel d'Albion at Rouen', watercolour, 12cm x 17cm, Abbott & Holder label verso, and other labels. From the property of a deceased local collector.Condition Report: Not signed on the painting. Labels and inscription on back of frame.

AMENDED DESCRIPTION AND ESTIMATE. Study of a woman carrying her wares, indistinctly signed, watercolour, 22cm x 14cm, also a photograph of a Thomas Girtin landscape painting (2). PROVENANCE: From the property of a deceased local collector.

Vincent Balfour-Browne (1880-1963) British, 'So Easy to Shoot Over', a lone stag on moorland, watercolour, monogrammed 'V B-B', 10.2 cm x 13.5 cm glazed in a gilt frame.Footnote: Provenance: Tryon Gallery label versoCondition report: Painting in good order, a little loose in the frame. Some spotting to the mount under the glass

James Mahony ARHA (1810-1879)The Official Opening of 'The National Exhibition of the Arts, Manufactures and Products of Ireland' Cork, 1852Watercolour, 74 x 66cm (29 x 26'')This large watercolour by James Mahony depicts the building designed by John Benson for the "National Exhibition of the Arts, Manufactures, and Products of Ireland" held in Cork in 1852. The exhibition took place on the Corn Exchange site on Albert Quay-where City Hall now stands-and was opened by the Lord Lieutenant, Archibald Montgomerie, 13th Earl of Elginton, on June 10th of that year. The watercolour depicts a long line of eminent citizens, waiting to be introduced to the Lord Lieutenant, who stands on a carpeted dais in the foreground. A tipstaff announces the names of those who are to ascend the steps to the dais; they appear to be mainly men, while the audience looking on from both sides is composed mainly of women. First in line is a man, hat in hand, wearing a blue sash and medallion. Galleries on either side of the hall are also packed with spectators. Benson was a brilliant engineer and architect, who used innovative building methods; the roof of the Cork Exhibition hall, with its four transepts, was constructed of laminated wood trusses, bent into semi-circles, and linked together to form a strong but light structure. Large skylights admitted light into the building. The same system was used in his designs for other Cork buildings, including the Butter Market, the Firkin Crane and the English Market. Following on from his success in Cork, Benson was engaged to design the buildings for the Dublin International Exhibition in 1853. Unfortunately, being constructed mainly of wood, over the years all of Benson's Cork buildings have been destroyed, or have lost their original truss roofs, as a result of fire. When the Cork National Exhibition ended, the building was dismantled and sold to the trustees of the Royal Cork Institution. Three years later it was re-erected, on a site beside the Cork School of Art (now the Crawford Art Gallery). Titled "The Atheneaeum", it was inaugurated by the Lord Lieutenant, George Frederick Howard, Earl of Carlisle, and over the following decades was used mainly for lectures, exhibitions and performances. Re-named the Cork Opera House in 1877, it hosted many theatrical and opera performances before being destroyed by fire in 1955. Mahony's watercolour depicts the first inauguration of the building in 1852. He depicts an ornate but functional interior, one that combined conventional architectural elements, including Corinthian columns, with proto-Modernist construction methods. When the building was re-erected as the Athenaeum three years later, it was a simpler structure, and by the time it was remodelled as the Cork Opera House in the later nineteenth century, it had lost most of its original embellishments. A contemporary wood engraving by Mahony, published in The Illustrated London News, shows another transept in the Cork Exhibition complex, the Fine Arts Hall. Born in Cork in or around 1810, James Mahony specialised in views of historical events and paintings with religious themes. He first exhibited in the 1833 exhibition of the "Cork Society for Promoting the Fine Arts" and during the following years travelled extensively on the Continent, mainly in France and Italy. Returning to Ireland, he settled at the home of his father, a carpenter, at 34 Nile Street. The date of his return has not been established precisely; Strickland gives it as 1841, but in 1839 Mahony painted a large watercolour of the blessing of the Church of St. Mary's on Pope's Quay, a painting now in the Great Hunger Museum in Quinnipiac, Connecticut. During those years Mahony also set about founding, along with fellow artist Samuel Skillen, a Cork Art Union. The concept of an Art Union, where works of art from an annual exhibition were distributed by lottery amongst a group of subscribers, had already been put into operation in London and in other cities. An Art Union in Dublin had been founded two years previously, and there was also one in Belfast. Each member paid an annual subscription of one pound. This gave the subscriber (and up to three friends) free admission to the exhibition, as well as participation in the lottery of paintings. In the first year of the Union's operation in Cork, it was reckoned that more than £100 would be spent on the purchase of paintings, to be distributed amongst the subscribers. The first exhibition was held in September 1841 at Marsh's Rooms on the South Mall, and in spite of the bad weather was an immediate success, with Mahony and Skillen both amongst the exhibitors.Mahony showed again in 1844, submitting two paintings to the Cork Art Union Exhibition, Strada di son Giardino a Subraio, and Nella Chiesa di San Maria della Fiore a Genzano vicino di Roma, both priced at four pounds and four shillings. In November 1846, his view of the Fr. Matthew Memorial Tower at Glanmire was presented to Queen Victoria. Around this time, he resumed his travels, spending a number of years in Spain, before returning to Ireland. In 1852, as well as depicting the inauguration of the Cork National Exhibition, he showed several watercolours in the Fine Arts section, including The City of Cork from the river near the Custom House and Queens College, Cork, along with views of Venice and Rome. Settling in Dublin four years later, he exhibited at the RHA, and was also made an associate of the Academy. A large panoramic view of Dublin, in the National Gallery of Ireland, shows his talents in rendering architectural detail. Also in the NGI is his watercolour depicting the visit by Queen Victoria and Prince Albert to the 1853 Dublin Exhibition. In 1859 Mahony moved to London, where he worked as an illustrator, until his death in 1879. While he produced paintings of notable building, and civic and cultural events, Mahony is best known nowadays for his graphic images of the effects of famine in Co. Cork, which were published in The Illustrated London News in the 1840's. These harrowing images influenced public opinion, and helped changed the British government's official stance of indifference to the Great Famine. James Mahony is not to be confused with a later Cork artist, James Mahoney, who also painted in watercolour. (See Julian Campbell Irish Arts Review Vol 28, No. 2 (2011) p. 98]Peter Murray

Two Chinese painted artworks to include a watercolour and ink depiction of a hunter astride about to shoot an arrow at a wolf, in a glazed frame, 26 cm high, together with a painting on silk depicting a mountainous landscape with river, 21 cm highLocation: BWL

2 MODERN BRITISH PAINTINGS; ONE A WATERCOLOUR OF A TRAY, DRINKS AND BOTTLE THE OTHER AN OIL PAINTING ON PANEL OF A WOODED VALLEY LANDSCAPE

W H LITTLEWOOD watercolour - Venetian Scene, 62 x 93cms (evidence of foxing and stress related tear across the painting)

Frank Sherwin (1896-1985), watercolour, Fishing boats in harbour, signed, 36 x 46cmCONDITION: Faded. Painting good; mount with dirty damp stains throughout; frame with a series of chips to the edge of paintwork. Glass cracked upper right corner, approx. 5cm.

19th C. canal scene with barge, watercolour in openwork gilt frame, 15 x 54 cm, 20th C. painting with ponies and children in snow, and a French bird print (3)

Colin Bent Philip (1855-1932) - Mountian Loch scene, watercolour, 55 x 74cmCondition report: The white marks to the sky are reflections from the camera flash.Some very light browning in places – sometimes difficult to differentiate from painting.Consistent fading all over.Otherwise good.

A FOLDER OF ORIGINAL ART WORK to include a small pencil sketch of a figure on paper watermarked 1879 with J. E. Millais in pencil on the back of the mount, a pencil sketch of three children with Sir Geo Hayter in pencil on the backing paper, other pencil sketches labelled D. T., J. Coghlan, Cooke etc., a pencil drawing of a churchyard on very brittle paper signed "Collingwood Smith 1870", an oil painting of a mountain scene that has on the back "Gorbia from above the oil mills, GWG", a monochrome watercolour pencilled J. Cozens on the reverse, a sepia picture of ruins signed W. T. Laslett and another unsigned, an unsigned oil painting of a cormorant on rocks (9)

Charles James Keats - Pair of late 19th Century watercolours with view of Continental towns, 49cm x 31.5cm, framed Condition: One painting is missing its glazing, this watercolour has heavier foxing and staining, both pictures show signs of light fading and the paper discolouring, please see images. **Due to current lockdown conditions, bidders are unable to view lots in this online-only sale. Please therefore read the following: As this is a sale of second-hand and antique items, bidders should expect items to exhibit general wear and tear commensurate with age and use unless otherwise stated. Please carefully examine the images as they form part of the overall condition. Clevedon Salerooms are happy to provide further detailed information on request, if received by email or telephone at least 24 hours prior to the sale. The mention of a specific flaw or fault does not automatically mean that no other faults exist. Reports are provided as a goodwill gesture and are a general assessment, not a forensic survey. Further category-specific condition information can be found in our Standard Terms and Conditions. The placing of a bid by you is taken by us as an indication that you have read, understood and agreed to these terms.

Watercolour Painting of Rhodes Old Town mounted and framed behind glass, in contemporary marble effect frame. Measures 27" x 20" including frame. Signed to bottom right.

Colin Jellicoe Signed Watercolour. Painting by Manchester artist Colin Jellicoe (1942-2018), dated 1994. Mounted and framed behind glass, measures 16" x 16" including frame.

Albert Wainwright (1898-1943) - Christchurch, Nr Bournemouth, a pen, ink and watercolour painting depicting the backs of houses and roof tops, to the reverse a view of Christchurch Priory, measures 12.5cm x 18cm.

Benedict Chukwukadibia Enwonwu M.B.E (Nigerian, 1917-1994)Benin Drummer signed and dated 'Ben Enwonwu/ Benin 1951' (lower left)watercolour52.5 x 34cm (20 11/16 x 13 3/8in).Footnotes:'The arts of drama, art and music enter into almost every aspect of African life. They are the mean by which to express sorrow, joy and happiness.' Ben Enwonwu 1950 This painting is an early example of Enwonwu's iconic drummer theme, to which the artist returns throughout his career. One of Enwonwu's most recognisable and well-know works is The Drummer (1978), commissioned for the facade of the Nigerian Telecommunication building, on the Marina, Lagos.For further information on this lot please visit Bonhams.com

Thomas Baines (1820-1875)The Eastern Cataracts of the Victoria Falls signed and dated 'T Baines Dec 1869' (lower left), inscribed verso 'The Eastern cataracts of the VICTORIA FALLS ZAMBESI RIVER from GARDEN ISLAND/ sketched in 1862/ painted 1869/ At MANGWE RIVER MATABELI LAND/ Sth AFRICA/ T.BAINES/ for E. Mohr Esq./ care of E. Oliver Esq'oil on canvas49.5 x 63.5cm (19 1/2 x 25in).Footnotes:ProvenanceThe collection of Eduard Mohr (1828-1876);The collection of Major Aubrey Hilton of Harare;Acquired by a private collector circa 1970;By descent.When introducing Baines's Northern Goldfields Diaries John Wallis comments:'some of the oil paintings of these travels are known ... But the whereabouts of many of the canvases has not been traced ...' (1946, p.xx). Now one of these important and historic lost paintings has emerged from a private collection to make an emphatic contribution to Thomas Baines's landscape oeuvre.Born into a family of mariners in King's Lynn, Norfolk, Baines served a five-year apprenticeship as an ornamental painter acquiring drawing and design skills. Instead of pursuing coach decorating professionally, he sailed to Cape Town and worked as a marine and portrait painter. He travelled throughout southern Africa before being appointed artist-storekeeper on Gregory's North-West Australian expedition (1855-57), and Livingstone's Zambesi expedition (1858-59). Fulfilling his artist role more enthusiastically than his storeman duties, Baines produced innumerable drawings including maps, and paintings. While this work relates to the expanding parameters of 19th century science, he claimed he was an artist 'working as much as possible in the actual presence of nature' (Victoria Falls portfolio, 1865, p.2).When free to determine his subjects, Baines's paintings display excellent powers of observation, a retentive visual memory and sensuous responses to natural visual spectacles. Consequently, his experiences of the Zambesi River and Victoria Falls with James Chapman (1860-65) generated many accomplished, arresting landscapes, fascinating for their scientific content and information on British colonial enterprise. 'The Eastern cataracts of the Victoria Falls' is one such painting, striking for its aesthetic qualities, dramatic rendition of landscape, portrayal of black and white men, and scientific curiosity about light manifested in the dominant double rainbow hovering over tumbling blue-white water and rising diaphanous spray. The Baines and Chapman journals reveal the explorers' delight in rainbows amd Baines recounts on 5th August 1862:'Here one may stand on the very edge as on a pier of solid masonry and look not only into the dim intricacies of the mist-hidden distances – spanned over by a rainbow, glorious in its brilliant loveliness and forming, but for the small segment cut out by the shadow of the rock he stands on, a perfect circle, surrounded by another with reversed colours, fainter and more indefinite as it approaches the thinner spaces in the mist; - but he may peer down into the very abyss beneath him.'Having lived under wide Norfolk skies in rainy England, Baines was familiar with double rainbows, a phenomenon produced by light refraction in spray droplets. Passing through droplets, light reverses the colour spectrum refracting or bending twice on the inside of each droplet before exiting. Red tops the primary bow but in the bow iteration, colours reverse with red at the bottom. Working from his reference portfolio of drawings and watercolours, Baines represented the double rainbow in many Falls landscapes. The Eastern cataracts oil painting suggests that a carefully observed watercolour of the Falls from Garden Island in Johannesburg's Brenthurst Library was a reference source but in the oil Baines does not reproduce the soft watercolour haziness of the rainbows' spectral colour. He heightens hues to convey the concept of light refraction, drawing attention to spectral wavelengths perceived by human eyes viewing transparent spray at close quarters. Baines and Chapman reached the Zambesi in July 1862 after a very long trek through Namibia. They marvelled at the surging river, deep cliffs, and thunderous falling torrents generating spray clouds. Baines sketched the Falls in situ from many angles, extracting denotational graphic information on spatial forms and tones from a vast spatial vista. He painted detailed, confidently executed watercolours at the campsite, and wrote adjectivally profuse journal descriptions to enrich his visual memory. His oils were painted after leaving the Falls when he had time to work on canvas. Artists' canvases may carry two forms of information – painted images on prepared surfaces and written data on the reverse. Baines's 1869 Eastern Falls Mosi-oa-Tunya annotated landscape is one of a number of representations of the dry 1862 winter season when two white Englishmen and several local Africans measured and viewed the Falls. Characteristically, Baines positions himself as eye/I witness on a rock promontory gazing at the falling Zambesi.The back of the canvas conveys narrative information in Baines's handwriting: 'The Eastern cataracts of the VICTORIA FALLS ZAMBESI RIVER from GARDEN ISLAND sketched in 1862 painted 1869 At MANGWE RIVER MATABELI LAND Sth AFRICA T.BAINES for E. Mohr Esq. case of E. Oliver Esq.' These statements invite questions: Why was Baines painting at Mangwe River in 1869? Who are E. Mohr and E. Oliver, and why is the painting being sent to Mohr in Oliver's wagon? Eduard Mohr (1828-1876), a wealthy German trader, ship owner, and explorer visited Natal in 1866. On a second trip in early 1869 he met Karl Mauch, who had discovered gold north of the Limpopo and Friedrich Adolph Huebner, a mining engineer who joined him on an expedition. Mohr met Thomas Baines in November 1868 when they embarked from London on the Asia to sail to Natal and in 1869 he renewed his acquaintance with Baines. Both men were heading north, Mohr to the goldfields and Victoria Falls, while Baines was leading an expedition to Matabeleland on behalf of the South African Gold Fields Exploration Company. The men outspanned next to each other in Pietermaritzburg, met again by the Tugela river, and Baines outspanned next to the German wagons in Potchefstroom. Baines and Mohr shared interests in zoology, astronomy and cartography; in Potchefstroom they worked together taking longitudinal readings. Importantly, Mohr commissioned Baines to produce scenes to illustrate his travels (Northern Goldfields Diaries, v.1, p.3). Baines immediately painted the Potchefstroom encampment and explains contractual details in his diary. Mohr and Baines spent more time together at Lee's farm at Mangwe river near the Tati goldfields. Mohr commissioned additional paintings from Baines, including the Pietermaritzburg encampment scene, which Baines painted in 1870 (Carruthers and Arnold, 1995, Ch. 11, figure 7). Mohr left for the Victoria Falls on November 26 and on Monday 29 Baines noted: 'Commenced a picture of the Victoria Falls for Mr. Mohr', presumably the Eastern cataracts canvas (Diary, v. 1, p.231). On 12 December Mohr, unable to proceed on his journey owing to heavy rains, arrived back at Mangwe. Two days later Baines wrote that Mohr had offered to extend his commission 'so as to make it in all £100' (Diary, v. 1, p.235). Clearly Mohr was an important patron and friend.Baines's diary entry for 14 December (p.236) describes his preliminary sketch for the Pietermaritzburg encampment painting and continues, 'I also succeeded in completing the picture of th... This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Victorian gouache and watercolour painting of a seated lady, set in maple frame, 25 x 20cm, together with tow unusual Victorian photographs Location: LWM

Ferry in a classical landscape, initialled lower right, Fine Art Society label verso, titled verso, watercolour, 29cm x 41cmPart of a Herefordshire Country House EstateCondition report: The painting is a watercolour on paper, framed under glazing, not examined external to the frame. The paper appears in good condition with no obvious signs of rips, tears or creasing. The paint condition appears good, minimal fading but no obvious evidence for paint loss or deterioration. The frame appears in good condition, minor wear and tear, solid joints. 

Philip Gardner (1922-1986). Fetching in the Stragglers, watercolour, signed and titled verso, 19.5cm x 20.5cm. Label verso Art Framers Sheringham With Burlington Painting Exhibition Catalogue 1992.

Studio of Tinqua 1809-1870. Watercolour on Pith Paper. “Portrait of a Government Official”.Measures 19cm x 30cm.Condition Report – Overall good condition for age. Painting & Print Cataloguing Terms:‘Studio of’A work we believe to come from the studio of the artist or closely associated with the artist.

FRAMED WATERCOLOUR PAINTING BY WILLIAM PAYNE BRIDGE NEAR CASTLE BRECON BRITISH 1776-1830   APP.SIZE: 21cm x 14cm 

Continental school - Head and shoulders portrait of a young man, reverse painting on glass, 40 x 30cm; together with a watercolour portrait sketch (2)

Framed & glazed watercolour. late 19th C, titled Water Hill in North Wales by David Cox, painting measures at 35 x 29cm

First class art and craft materials including 2 candle making sets, 2 blocks of watercolour paper (1/4 Imperial); 3 tubes of watercolour paint; 2 sets of oil paints with postcard sized paper blocks and painting tips and techniques; 4 packs of oil painting brushes ( mop brush and dome blender) Donated by SAA

20TH CENTURY MARITIME STUDY 'A Three Masted Schooner', Watercolour painting, 35cm x 51cm, indistinctly signed, framed and mounted

English School, Study of a Hound, oil painting, 36.5 x 29cm; Dugald Cameron 'P.S. Waverley' signed print, B. Netto, Siamese Dancer, watercolour, other pictures, mirrors:- One Box

A Chinese fan painting, watercolour on silk, painted with a pine tree on a rocky outcrop before a mountainous river landscape, signed and with two red seals, 40cm wide, mounted, framed and glazed. Condition Report Minor markings and creasing to the silk.

Ayobola Kekere-Ekun Hide but Never Seek (Sketch), 2021 Pen on Watercolour Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Ayobola Kekere-Ekun (b. 1993) is a contemporary visual artist. She was born in Lagos, Nigeria. Her B.A. and M.A. in Visual arts were received from the Department of Creative Arts, University of Lagos; where she majored in Graphic Design. She is currently pursuing a PhD in Art and Design at the University of Johannesburg, South Africa. Ayobola is also a Lecturer at the Department of Creative Arts, University of Lagos.   Ayobola's work often explores subjects connected to gender, mythology, power and the human condition in a multi-layered way; creating work through a labour-intensive process. Her work is heavily informed by personal experiences and observations. She is particularly interested in exploring the subtle interplay of time, space, gender, power and social structures in contemporary society.   Ayobola works predominantly with a technique known as quilling, in which strips of paper are individually shaped to create forms. She tends to quill with a variety of materials that respond well to the technique; including ribbon and strips of canvas. She constantly experiments with new ways of exploring materials and their capabilities. Ayobola views the intricacy of her work as a visual metaphor of the complexity of the subject matter she engages with.   Education   2014 - B.A. Visual Arts from the University of Lagos 2017- M.A. Visual Arts from the University of Lagos 2021 - PhD Art and Design (in view) from the University of JohannesburgExhibitions   Exhibitions/Awards   December 2020, Untitled Art Fair - Miami October 2020, High Stakes (solo) - Guns and Rain, Johannesburg January 2020, Young Contemporaries Alumni - National Museum, Lagos October 2019, Making Matter: Materiality and Technology in Nigerian Art - Yemisi Shyllon Museum of Art, Lagos July 2019, Suffrage - Guns and Rain, Johannesburg May 2019, Imagine the Opposite - No End Contemporary, Johannesburg April 2019, Resilient Lines (solo) - Rele Gallery, Lagos October 2018, Cu-ulture and Tradition: Same Experience, Different Local - Koppel Project Hive, London May 2017, Idanimo - Terrakulture Gallery, Lagos May 2017, In Honour of Professor Bolanle Awe - Museum of the Institute of Africa Studies University of Ibadan, Ibadan February 2017, Her Story - Rele Gallery, Lagos November 2016, Dysmorphia & Other Thoughts - Ake Arts and Book Festival, Abeokuta January 2016, Young Contemporaries - Rele Gallery, Lagos     Awards 2018 - The Future Awards 2018 Prize for Creativity 2018 - The Dean Collection 20 St(art)ups Grants 2016 - Rele Art Foundation "Young Contemporaries" Grant 2014 - University of Lagos, Convocation Prize 2012 - United States Consulate General 'Women's History Month' Art ContestGuns and Rain, South Africa   About the postcard artworks   The core of my artistic practice rests on three foundational pillars. The first is an attraction to lines. I have always had a genuine fascination with lines. I think it's interesting how the primary component of all complex forms can be ambiguously loaded with meaning. A line can connect and separate, enclose and exclude, direct and misdirect, all at the same time. To a large extent, my work is a three-dimensional manifestation of lines. I amplify their complexity by enabling them to catch pockets of light and cast subtle shadows. This becomes an avenue to tease out smaller stories within wider narratives visually. The second pillar is the seeming neutrality of paper. I view paper as a conceptual Trojan horse. It's a basic, unassuming material that exists in the backgrounds of our lives; bland, reliable, and ordinary. By making paper the visual centrepiece of my art, I encourage my audience to reconsider the material's value and potential. This re-examination also underscores a running theme in my practice, which is that things are rarely what they appear to be.   The use of fabrics in Yorùbá, Nigerian society is my third pillar. Across my practice, I use fabrics as a reference to the practice of Aṣọ ẹbi in Nigerian society. Aṣọ ẹbi, which translates to "family cloth" refers to the selection of a fabric that serves as a "uniform" worn by families and friends alike during communal ceremonies such as weddings, birthdays and funerals. It is intended to be a show of love, support and camaraderie. The practice has, however, been corrupted in contemporary times, becoming a common source of disputes when prices are excessively inflated to turn a profit and community members are unable or unwilling to acquire the fabric. My use of fabrics references how the positive can quickly mutate to take on negative connotations. It is also a visual representation of societal pressure and expectations.   I enjoy exploring themes related to gender, memory, mythology and identity. My work involves placing strips of paper on their edges to create forms. It is a rather labour-intensive process as each strip must be manually measured, manipulated and secured. I approach paper as a means of painting without pigments. The visual complexity of my art becomes a visual metaphor for the difficulty of the themes I tackle. My art is often visually playful and engaging, characterised by intricacy and bright colours. I think of the visual accessibility of my work as a "trap" of sorts. It lures an audience into engaging before revealing the darker subject matter the work deals with; a constant reminder of the fallacy of face value." Condition Report:   Condition Report Disclaimer

Julie Moss Breaking Free, 2021 Watercolour and Ink on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Julie Moss is a painter who lives and works in Cornwall and studied Fine Art at Falmouth University.   She grew up in Lancashire and attended Bolton school of Art in 1973 -76, after training to become a florist and working as a textile designer she moved to Cornwall to raise her family. Julie is a member of the Newlyn Society of Artists.   Education   University Falmouth, BA honours fine Art   Exhibitions/Awards   RA summer/winter 2021 exhibition, Gallery of Modern Art Malaysia, finalist John Ruskin prize. Finalist Windsor and Newton painting prize, Edgar Modern gallery, Arusha gallery , Newlyn Society of Artists   About the postcard artworks   The two watercolour and inks postcards were a emotional response to my time in lockdown, a need for escapism and a feeling of connection a recognition that we are all in this together.  

Julie Moss We are All in this Together, 2021 Watercolour and Ink on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Julie Moss is a painter who lives and works in Cornwall and studied Fine Art at Falmouth University.   She grew up in Lancashire and attended Bolton school of Art in 1973 -76, after training to become a florist and working as a textile designer she moved to Cornwall to raise her family. Julie is a member of the Newlyn Society of Artists.   Education   University Falmouth, BA honours fine Art   Exhibitions/Awards   RA summer/winter 2021 exhibition, Gallery of Modern Art Malaysia, finalist John Ruskin prize. Finalist Windsor and Newton painting prize, Edgar Modern gallery, Arusha gallery , Newlyn Society of Artists   About the postcard artworks   The two watercolour and inks postcards were a emotional response to my time in lockdown, a need for escapism and a feeling of connection a recognition that we are all in this together.  

Katherine Jones Swimming Pool I Sugarlift Etching on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Katherine Jones is a contemporary British artist working in a combination of painting and traditional printmaking techniques. Her work revolves around perceptions of safety and danger, focusing on ordinary objects, spaces and buildings as a framework to begin to question these themes.   Education:   2001 - 2003 Camberwell College of Art, MA Fine Art Printmaking 1998 - 2001 Cambridge School of Art, BA (hons) Fine Art Printmaking   Exhibitions, Collections & Awards:   V&A National Art Library, UK Lafayette College, USA V&A Prints and Drawings Collection, UK Yale University Library, CT, USA Boston Athenaeum, USA University College London, Hospitals Art Collection, UK Wellesley Library, USA Guangdong Museum, China House of Lords, Government Art Collection, UK Swathmore College, PA, USA Ashmolean Museum, UK Saison Poetry Library, Royal Festival Hall, UK Winchester College, UK Swindon Museum and Gallery, UK Eton College, UK University of Chichester, Otter Collection UK Royal West of England Academy, Bristol   UK RESIDENCIES 2020/ 2018 Artist in residence, Sevenoaks School, Kent 2016-17 Artist in residence, Rabley Drawing Centre, Wiltshire 2015 Residency at Eton College, Windsor 2014 Residency at Winchester College 2013 Printfest Residency, Cumbria 2011 Residency at Kloster Bentlage, Rheine, Germany 2007-10 Research Fellowship, City and Guilds of London Art School, London 2009 Artist of the season, 'Twenty8Twelve', London 2005 Intaglio Printmaker Residency   AWARDS: 2019 Shortlisted for the Dentons art Prize, Denton's Law, London 2014 Royal Academy, London Original Print Fair Prize and Printmaking Today Prize 2013 Finalist - Arts Foundation Fellowship Award in Printmaking and Printmaker of the Year, Printfest Residency, Cumbria 2012 Guangdong Museum Purchase Prize, Qijiang, China 2010 Birgit Skiold Memorial Trust Award for Excellence V&A Purchase Prize 2009 International Print Biennale Solution Group Prize, The London Print Studio Award, Pushing Print Award, East London Printmakers Great Art Prize, Intaglio Printmaker Award, The T N Lawrence and Son Print Prize 2007 Julian Trevelyan Memorial Award for Printmaking, St Cuthbert's Mill Award for Watercolour 2006 Stoke Roberts Bursary Award 2003 Edward Ardizzonie Award, Artichoke Studio Award for Lithography Rabley Contemporary Gallery, Whiltshire, UK website https://rableygallery.com/?v=79cba1185463   About the postcard artworks:   The two pieces donated are etchings made using sugar-lift aquatint on zinc. They were made during a residency at Eton College and depict a disused swimming pool. This, once monumentally sized, figure of eight, state of the art pool I am told was at one time used as a landmark for the navigation of concord. It is now empty and deserted and has been gradually taken over by wildlife. Budlia grow from cracks in the lining and birds, foxes and butterflies find a safe haven there."  

Marion Archer On Menslade Bay, 2021 Ink, Watercolour and Chalk on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Marion Archer, born in Northumberland, 1946.   Education   She studied Fine Art at Leicester, Canterbury and Ravensbourne. From 1970-1975, she studied Thangka Painting in Northern India. Exhibitions/Awards   Marion's work has been shown at numerous exhibitions in London including the Royal Academy Summer Shows, John Player Portrait Award Exhibition, National Gallery, Mall Galleries, South London Gallery. Her work is held by private collections in New Zealand, USA, Spain and the UK.  

Mimei Thompson Untitled (Bird), 2021 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Mimei Thompson is an artist based in London. She has organised numerous group exhibitions, including at the Herbert Read Gallery in Canterbury, and at Blythe Gallery and Transition Gallery in London. She participated in a residency at the Atlantic Center for the Arts, and has her work in the collection of Arts Council England   Education   Royal College of Art, Painting MA, Central St Martins, Fine Art MA, Glasgow School of Art, Fine Art BA   Exhibitions/Awards Selected for Jerwood Contemporary Painters, Studio Voltaire Open, the Marmite Painting Prize, Exeter Contemporary Open, Creekside Open, and The Royal Academy Summer Exhibition. Recent solo shows have been at Trade Gallery Nottingham, Queens Park Railway Club Glasgow and Art First Projects London.   About the postcard artworks   The birds come from natural history illustrations, and are perched superimposed over saturated gradient backgrounds, reminiscent of sunset colours. They are at a meeting place between the natural world and a melancholy, synthetic, suspended world, reflective of a mood of our current time.  

Mimei Thompson Untitled (Bird), 2021 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Education   Royal College of Art, Painting MA, Central St Martins, Fine Art MA, Glasgow School of Art, Fine Art BA   Exhibitions/Awards Selected for Jerwood Contemporary Painters, Studio Voltaire Open, the Marmite Painting Prize, Exeter Contemporary Open, Creekside Open, and The Royal Academy Summer Exhibition. Recent solo shows have been at Trade Gallery Nottingham, Queens Park Railway Club Glasgow and Art First Projects London.   About the postcard artworks   The birds come from natural history illustrations, and are perched superimposed over saturated gradient backgrounds, reminiscent of sunset colours. They are at a meeting place between the natural world and a melancholy, synthetic, suspended world, reflective of a mood of our current time.  

Mimei Thompson Untitled (Bird), 2021 Watercolour and Ink on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Education   Royal College of Art, Painting MA, Central St Martins, Fine Art MA, Glasgow School of Art, Fine Art BA   Exhibitions/Awards Selected for Jerwood Contemporary Painters, Studio Voltaire Open, the Marmite Painting Prize, Exeter Contemporary Open, Creekside Open, and The Royal Academy Summer Exhibition. Recent solo shows have been at Trade Gallery Nottingham, Queens Park Railway Club Glasgow and Art First Projects London.   About the postcard artworks   The birds come from natural history illustrations, and are perched superimposed over saturated gradient backgrounds, reminiscent of sunset colours. They are at a meeting place between the natural world and a melancholy, synthetic, suspended world, reflective of a mood of our current time.  

Katherine Jones Swimming Pool II, 2020 Sugarlift Etching on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) Katherine Jones is a contemporary British artist working in a combination of painting and traditional printmaking techniques. Her work revolves around perceptions of safety and danger, focusing on ordinary objects, spaces and buildings as a framework to begin to question these themes.   Education:   2001 - 2003 Camberwell College of Art, MA Fine Art Printmaking 1998 - 2001 Cambridge School of Art, BA (hons) Fine Art Printmaking   Exhibitions, Collections & Awards:   V&A National Art Library, UK Lafayette College, USA V&A Prints and Drawings Collection, UK Yale University Library, CT, USA Boston Athenaeum, USA University College London, Hospitals Art Collection, UK Wellesley Library, USA Guangdong Museum, China House of Lords, Government Art Collection, UK Swathmore College, PA, USA Ashmolean Museum, UK Saison Poetry Library, Royal Festival Hall, UK Winchester College, UK Swindon Museum and Gallery, UK Eton College, UK University of Chichester, Otter Collection UK Royal West of England Academy, Bristol   UK RESIDENCIES 2020/ 2018 Artist in residence, Sevenoaks School, Kent 2016-17 Artist in residence, Rabley Drawing Centre, Wiltshire 2015 Residency at Eton College, Windsor 2014 Residency at Winchester College 2013 Printfest Residency, Cumbria 2011 Residency at Kloster Bentlage, Rheine, Germany 2007-10 Research Fellowship, City and Guilds of London Art School, London 2009 Artist of the season, 'Twenty8Twelve', London 2005 Intaglio Printmaker Residency   AWARDS: 2019 Shortlisted for the Dentons art Prize, Denton's Law, London 2014 Royal Academy, London Original Print Fair Prize and Printmaking Today Prize 2013 Finalist - Arts Foundation Fellowship Award in Printmaking and Printmaker of the Year, Printfest Residency, Cumbria 2012 Guangdong Museum Purchase Prize, Qijiang, China 2010 Birgit Skiold Memorial Trust Award for Excellence V&A Purchase Prize 2009 International Print Biennale Solution Group Prize, The London Print Studio Award, Pushing Print Award, East London Printmakers Great Art Prize, Intaglio Printmaker Award, The T N Lawrence and Son Print Prize 2007 Julian Trevelyan Memorial Award for Printmaking, St Cuthbert's Mill Award for Watercolour 2006 Stoke Roberts Bursary Award 2003 Edward Ardizzonie Award, Artichoke Studio Award for Lithography Rabley Contemporary Gallery, Whiltshire, UK website https://rableygallery.com/?v=79cba1185463   About the postcard artworks:   The two pieces donated are etchings made using sugar-lift aquatint on zinc. They were made during a residency at Eton College and depict a disused swimming pool. This, once monumentally sized, figure of eight, state of the art pool I am told was at one time used as a landmark for the navigation of concord. It is now empty and deserted and has been gradually taken over by wildlife. Budlia grow from cracks in the lining and birds, foxes and butterflies find a safe haven there."

Freya Douglas-Morris Evening Dove, 2021 Watercolour and Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.)   My painting practice covers both work on canvas and on paper. In many ways the scenes I paint are based on something tangible, but there is a leaning on memory and a heightened sense of colour that leaves the paintings somewhere in the realm of the remembered and unreal. Narrative plays a part and for these two postcard paintings I took inspiration from poetry and music alongside many other sources.   Education   Painting MA, Royal College of Art, London 2011 - 2013 Fine Art BA, Brighton University 1999 - 2002   Exhibitions/Awards   2021 (Solo show, Lychee One, London UK - future) (Solo show, Arusha Gallery UK - future) Inside/Outside, Janet Rady Fine Art, UK 2020 10 Year anniversary exhibition, Contemporary 6, UK Viewing Rooms, on-line presentation of paper works, Lychee One, UK Staycation, Lychee One, UK Tides, Arusha Gallery, UK Isolated Observations, Candida Stevens Gallery, UK London Art Fair, Lychee One, UK Picture Palace, Transition Gallery, UK 2019 The Sun Long Night, Lychee One, UK (Solo) Art Shenzhen, HDM Gallery, Shenzhen China Art 021, HDM Gallery, Shanghai China 2018 Winter Exhibition, Campden Art Gallery, UK Bone Memory, Lychee One, UK Exhibition and shortlisted for Denton's Art Prize 2018, UK Fresh Paint, Messums Wiltshire, UK 2017 The Manchester Contemporary, Manchester UK The Diamond Sea, Saatchi Gallery, curated by Kristian Day, London UK Where They Hum, Lychee One, London UK What is This Place? Group Exhibition, Newlyn Art Gallery, Cornwall UK Benefit Auction & Exhibition, CS Hospiz is Rennweg & Sotheby's, Vienna, AT 2016 The Classical, Transition Gallery, London UK Landing, curated by Kristian Day, London UK Sampler, Arcade Fine Arts, curated by Kristian Day, London UK Artificial Arcadia, Bosse & Baum, London UK Paper, Publication, Performance, Lychee One, London UK Light For Company, Lychee One, London UK - January (Solo) 2015 Carnival Glass, Block 336, London UK A Crazed Flowering, Frameless Gallery, London, UK 2014 Studiolo #11 'One place or another' Studiolo Project, Milan, IT (Solo) 100 Painters of Tomorrow, New York, USA Elsewhere, Yellow Gallery & Transition Gallery, Varese, IT East End Painting Prize, Bow Arts Trust, London, UK Freya Douglas-Morris & Marita Fraser, Peter Von Kant Gallery, London, UK Re-Define, Dallas Contemporary Museum, USA Paper & Colour, Griffin Gallery, London, UK The Catlin Guide, Art London, UK 2013 Atomic, Transition Gallery (off-site) London, UK Art Britannia, Miami, USA New Sensations 2013, Saatchi Gallery & Channel 4, London, UK Painting Show, Winter Projects, London, UK Paper, Saatchi Gallery, London, UK Selected Works from the RCA Show, Christie's, London, UK RCA Degree Show, Royal College of Art, London, UK See Think Different, Drawing Room Projects (off-site) London, UK Big Rock Candy Mountain, MOT International Projects, London, UK Secret Postcards, Royal College of Art, London, UK Near that place, Hockney Gallery, RCA, London, UK 2012 Passing Through Landscape Campden Gallery, UK (Solo) Bloomberg New Contemporaries, ICA, London, UK Bloomberg New Contemporaries, Liverpool Biennial, UK CHASE Charity Exhibition, Royal College of Art, London, UK Collectible Zeitgeist Art Group, London, UK WIP Show, Royal College of Art, London, UK   Residencies/Awards Nigel Greenwood Prize, shortlisted 2018 Denton's Art Prize, commended 2018 Varese, Italy - Residency with Yellow Space, Varese & Transition Gallery, London, September 2014 Kuwait - Participated in Out of Britain with the RCA and British Council, September 2012 & April 2013 Barcelona - Pantocrator Gallery, May 2011 Berlin - Milchhof Art Studios, May 2008 Publications, Catalogues, Articles Journal, Cohabiting' Dateagle Interview with Anna Souter, '2019 Talking Points, Make Believe - Harper's Bazaar, 2019 Buying Art - House & Garden, 2018 5 Questions with Freya Douglas-Morris, Elephant, Magazine Issue 32, 2016 Elsewhere/Altrove - Exhibition Publication, Vera Portatadino & Cathy Lomax, Italy, 2015 100 Painters of Tomorrow - Kurt Beers and Thames & Hudson, 2014 The Catlin Guide 2014 - Justin Hammond, 2014 Freya Douglas-Morris Studiolo#11 - Wall St International, 2014 New Sensations 2013 - Exhibition Catalogue, Saatchi Gallery, 2013 Paper - Exhibition Publication, Saatchi Gallery, 2013 Bloomberg New Contemporaries Review - The Guardian, 2012 Bloomberg New Contemporaries Catalogue, 2012 - Nairy Baghramian, Cullinan Richards, Rosalind Nashashibi, ICA & Cornerhouse Collections Saatchi Gallery and many private collections worldwide   About the postcard artworks   Evening dove' & 'Lilac tree' - these scenes are part imagined, part remembered and part observed. Two moments captured in time, both have an air of narrative. And a sense of escape ..." Condition Report:   Condition Report Disclaimer

Freya Douglas-Morris Lilac Tree, 2021 Watercolour and Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) My painting practice covers both work on canvas and on paper. In many ways the scenes I paint are based on something tangible, but there is a leaning on memory and a heightened sense of colour that leaves the paintings somewhere in the realm of the remembered and unreal. Narrative plays a part and for these two postcard paintings I took inspiration from poetry and music alongside many other sources.   Education   Painting MA, Royal College of Art, London 2011 - 2013 Fine Art BA, Brighton University 1999 - 2002   Exhibitions/Awards   2021 (Solo show, Lychee One, London UK - future) (Solo show, Arusha Gallery UK - future) Inside/Outside, Janet Rady Fine Art, UK 2020 10 Year anniversary exhibition, Contemporary 6, UK Viewing Rooms, on-line presentation of paper works, Lychee One, UK Staycation, Lychee One, UK Tides, Arusha Gallery, UK Isolated Observations, Candida Stevens Gallery, UK London Art Fair, Lychee One, UK Picture Palace, Transition Gallery, UK 2019 The Sun Long Night, Lychee One, UK (Solo) Art Shenzhen, HDM Gallery, Shenzhen China Art 021, HDM Gallery, Shanghai China 2018 Winter Exhibition, Campden Art Gallery, UK Bone Memory, Lychee One, UK Exhibition and shortlisted for Denton's Art Prize 2018, UK Fresh Paint, Messums Wiltshire, UK 2017 The Manchester Contemporary, Manchester UK The Diamond Sea, Saatchi Gallery, curated by Kristian Day, London UK Where They Hum, Lychee One, London UK What is This Place? Group Exhibition, Newlyn Art Gallery, Cornwall UK Benefit Auction & Exhibition, CS Hospiz is Rennweg & Sotheby's, Vienna, AT 2016 The Classical, Transition Gallery, London UK Landing, curated by Kristian Day, London UK Sampler, Arcade Fine Arts, curated by Kristian Day, London UK Artificial Arcadia, Bosse & Baum, London UK Paper, Publication, Performance, Lychee One, London UK Light For Company, Lychee One, London UK - January (Solo) 2015 Carnival Glass, Block 336, London UK A Crazed Flowering, Frameless Gallery, London, UK 2014 Studiolo #11 'One place or another' Studiolo Project, Milan, IT (Solo) 100 Painters of Tomorrow, New York, USA Elsewhere, Yellow Gallery & Transition Gallery, Varese, IT East End Painting Prize, Bow Arts Trust, London, UK Freya Douglas-Morris & Marita Fraser, Peter Von Kant Gallery, London, UK Re-Define, Dallas Contemporary Museum, USA Paper & Colour, Griffin Gallery, London, UK The Catlin Guide, Art London, UK 2013 Atomic, Transition Gallery (off-site) London, UK Art Britannia, Miami, USA New Sensations 2013, Saatchi Gallery & Channel 4, London, UK Painting Show, Winter Projects, London, UK Paper, Saatchi Gallery, London, UK Selected Works from the RCA Show, Christie's, London, UK RCA Degree Show, Royal College of Art, London, UK See Think Different, Drawing Room Projects (off-site) London, UK Big Rock Candy Mountain, MOT International Projects, London, UK Secret Postcards, Royal College of Art, London, UK Near that place, Hockney Gallery, RCA, London, UK 2012 Passing Through Landscape Campden Gallery, UK (Solo) Bloomberg New Contemporaries, ICA, London, UK Bloomberg New Contemporaries, Liverpool Biennial, UK CHASE Charity Exhibition, Royal College of Art, London, UK Collectible Zeitgeist Art Group, London, UK WIP Show, Royal College of Art, London, UK   Residencies/Awards Nigel Greenwood Prize, shortlisted 2018 Denton's Art Prize, commended 2018 Varese, Italy - Residency with Yellow Space, Varese & Transition Gallery, London, September 2014 Kuwait - Participated in Out of Britain with the RCA and British Council, September 2012 & April 2013 Barcelona - Pantocrator Gallery, May 2011 Berlin - Milchhof Art Studios, May 2008 Publications, Catalogues, Articles Journal, Cohabiting' Dateagle Interview with Anna Souter, '2019 Talking Points, Make Believe - Harper's Bazaar, 2019 Buying Art - House & Garden, 2018 5 Questions with Freya Douglas-Morris, Elephant, Magazine Issue 32, 2016 Elsewhere/Altrove - Exhibition Publication, Vera Portatadino & Cathy Lomax, Italy, 2015 100 Painters of Tomorrow - Kurt Beers and Thames & Hudson, 2014 The Catlin Guide 2014 - Justin Hammond, 2014 Freya Douglas-Morris Studiolo#11 - Wall St International, 2014 New Sensations 2013 - Exhibition Catalogue, Saatchi Gallery, 2013 Paper - Exhibition Publication, Saatchi Gallery, 2013 Bloomberg New Contemporaries Review - The Guardian, 2012 Bloomberg New Contemporaries Catalogue, 2012 - Nairy Baghramian, Cullinan Richards, Rosalind Nashashibi, ICA & Cornerhouse Collections Saatchi Gallery and many private collections worldwide   About the postcard artworks   Evening dove' & 'Lilac tree' - these scenes are part imagined, part remembered and part observed. Two moments captured in time, both have an air of narrative. And a sense of escape ..."  

Rebecca Fortnum Prosopopoeia (Dalou, Fitzwilliam), 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Rebecca Fortnum   Education   Camberwell College of Art (Foundation), Corpus Christi College, Oxford (BA Hons English), University of Newcastle-upon-Tyne (Master or Fine Art) Kingston University (PhD)   Exhibitions/Awards   Natalie Barney Gallery (2020), Semmer, Berlin (2015, two person), Freud Museum (2013) V&A's Museum of Childhood (2012),   Recent group shows: 'Motherline', Flowers East (London), 'Sleepy Heads', Blyth Gallery (London), '49.5', 601 Art Space (New York), 'Phantom Limn', Dovecot Studios (Edinburgh) Royal Academy Summer Exhibition (London).   A monograph, Self Contained, with essays by Maria Walsh, Graham Music and Louisa Minkin was published by RGAP in 2013. In 2019, she was elected Visiting Research Fellow in Creative Arts at Merton College, Oxford, where she developed her project, A Mind Weighted with Unpublished Matter, published by Slimvolume in 2020 with contributions from Professor Gemma Blackshaw and artist Melissa Gordon.   Fortnum has held an Abbey Award at the British School in Rome, individual awards from the Arts Council of England, the British Council and the Pollock-Krasner Foundation amongst others, and has received research funding from the UK's Arts and Humanities Research Council, KU Leuven the Association of Flemish Universities as well as a Space for 10 award for mid-career artists. Her book of interviews, Contemporary British Women Artists: In Their Own Words, was published by Bloomsbury in 2007 and On Not Knowing: How Artists Think, a book of essays that examines contemporary artists' processes, which she co-edited with Lizzie Fisher, was published by Black Dog in 2013.   She is the Founding Editor of the Journal of Contemporary Painting. Her most recent book, A Companion to Contemporary Drawing (2020), co-edited with Kelly Chorpening, includes her chapter, 'A Dirty Double Mirror: Drawing, Autobiography and Feminism', which explores the feminist potential of the 'autographical' in work. Education Fine Art at University of the Arts London, Professor of Fine Art at Middlesex University, where she led Masters programmes and is currently Professor of Fine Art at the Royal College of Art, where she is Research Lead for the School of Arts and Humanities.   Gallery Representation   The Drawing Gallery   About the postcard artworks   Works from the series, A Mind Weighted with Unpublished Matter, emerges from Fortnum's ongoing drawing and painting practice which explore the politics of the gaze. In a series called Prosopopoeia-a rhetorical term describing a communication via another person or thing, sometimes seen as a way of animating the dead-Fortnum paints from historical sculptural portraiture, particularly of 19th Century France, drawing on notions of 'absorption' in the representation of women.  

Rebecca Fortnum Prosopopoeia (Dalou, V&A), 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Rebecca Fortnum   Education   Camberwell College of Art (Foundation), Corpus Christi College, Oxford (BA Hons English), University of Newcastle-upon-Tyne (Master or Fine Art) Kingston University (PhD)   Exhibitions/Awards   Natalie Barney Gallery (2020), Semmer, Berlin (2015, two person), Freud Museum (2013) V&A's Museum of Childhood (2012),   Recent group shows: 'Motherline', Flowers East (London), 'Sleepy Heads', Blyth Gallery (London), '49.5', 601 Art Space (New York), 'Phantom Limn', Dovecot Studios (Edinburgh) Royal Academy Summer Exhibition (London).   A monograph, Self Contained, with essays by Maria Walsh, Graham Music and Louisa Minkin was published by RGAP in 2013. In 2019, she was elected Visiting Research Fellow in Creative Arts at Merton College, Oxford, where she developed her project, A Mind Weighted with Unpublished Matter, published by Slimvolume in 2020 with contributions from Professor Gemma Blackshaw and artist Melissa Gordon.   Fortnum has held an Abbey Award at the British School in Rome, individual awards from the Arts Council of England, the British Council and the Pollock-Krasner Foundation amongst others, and has received research funding from the UK's Arts and Humanities Research Council, KU Leuven the Association of Flemish Universities as well as a Space for 10 award for mid-career artists. Her book of interviews, Contemporary British Women Artists: In Their Own Words, was published by Bloomsbury in 2007 and On Not Knowing: How Artists Think, a book of essays that examines contemporary artists' processes, which she co-edited with Lizzie Fisher, was published by Black Dog in 2013.   She is the Founding Editor of the Journal of Contemporary Painting. Her most recent book, A Companion to Contemporary Drawing (2020), co-edited with Kelly Chorpening, includes her chapter, 'A Dirty Double Mirror: Drawing, Autobiography and Feminism', which explores the feminist potential of the 'autographical' in work. Education Fine Art at University of the Arts London, Professor of Fine Art at Middlesex University, where she led Masters programmes and is currently Professor of Fine Art at the Royal College of Art, where she is Research Lead for the School of Arts and Humanities.   Gallery Representation   The Drawing Gallery   About the postcard artworks   Works from the series, A Mind Weighted with Unpublished Matter, emerges from Fortnum's ongoing drawing and painting practice which explore the politics of the gaze. In a series called Prosopopoeia-a rhetorical term describing a communication via another person or thing, sometimes seen as a way of animating the dead-Fortnum paints from historical sculptural portraiture, particularly of 19th Century France, drawing on notions of 'absorption' in the representation of women.

Josie Clouting Collecting Colours 3, 2021 Acrylic and Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) Josie immerses herself in the landscape, from man made cultivated botanic gardens to wild stormy beaches and the rolling hills where she lives. Her paintings are intuitive, emotional responses to her natural environment, inspired by the vastness and wonder of the natural world. Josie's works are saturated with colour, vitality and energy, reflecting her response to light, atmosphere and topography. Painting and sketching en plein air is a vital part of her practice, enabling her to react to the landscape and play with loose, immediate brush marks. Experimenting with acrylics on a variety of surfaces and scales, with many large scale paintings as a result are part of the enjoyment of the creative process. Josie's physical movements creating large expansive works are an expression of the energy she feels within the landscape. Josie graduated with a degree in Fine Art from Norwich University of the Arts in 2012. Her studio is now based in Maidenhead, Berkshire, UK.   Exhibitions/Awards   RA Summer Exhibition 2020 Wales Contemporary 2020 + 2019 Holly Bush Emerging Woman Painter Prize (Finalist) 2020 Sunday Times Watercolour Competition (Finalist) 2019   About the postcard artworks   'Tulip Eyes' and 'Collecting Colours' refer to moments in my childhood that have shaped the work I make today. In particular they reference the relationship with my mum and the times spent in the garden together. Growing up, the garden was a creative project and a shared experience that sparked my love of the natural world.  

Josie Clouting Collecting Colours, 2021 Acrylic and Gouache on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) "Josie immerses herself in the landscape, from man made cultivated botanic gardens to wild stormy beaches and the rolling hills where she lives. Her paintings are intuitive, emotional responses to her natural environment, inspired by the vastness and wonder of the natural world. Josie's works are saturated with colour, vitality and energy, reflecting her response to light, atmosphere and topography. Painting and sketching en plein air is a vital part of her practice, enabling her to react to the landscape and play with loose, immediate brush marks. Experimenting with acrylics on a variety of surfaces and scales, with many large scale paintings as a result are part of the enjoyment of the creative process. Josie's physical movements creating large expansive works are an expression of the energy she feels within the landscape. Josie graduated with a degree in Fine Art from Norwich University of the Arts in 2012. Her studio is now based in Maidenhead, Berkshire, UK.   Exhibitions/Awards   Recent shows include the Royal Academy Summer Exhibition 2020, Holly Bush Emerging Woman Painter Prize 2020 and the Sunday Times Watercolour Competition 2019. BA (Hons) Fine Art Norwich University of the Arts 2012 RA Summer Exhibition 2020 Wales Contemporary 2020 + 2019 Holly Bush Emerging Woman Painter Prize (Finalist) 2020 Sunday Times Watercolour Competition (Finalist) 2019   About the postcard artworks   'Collecting Colours' refer to moments in my childhood that have shaped the work I make today. In particular they reference the relationship with my mum and the times spent in the garden together. Growing up, the garden was a creative project and a shared experience that sparked my love of the natural world."

Julie Held Pink Moon, 2021 Watercolour on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) I am a member of The London Group, The NEAC, The RWS and The Aborealists. I exhibit widely in both group and solo shows. My work is in many public collections including Nuffield College, Oxford, The Ben Uri Museum and the Leipzig Historical Museum.   Education   Camberwell Scholl of Art ,The Royal Academy Schools, The Picker Fellow.   Exhibitions/Awards   Many exhibitions including The Royal Academy Summer Exhibitions, The B.P Portrait Award, Linden Hall, The Belgrave Gallery, St. Ives, The Trinity Wharf Drawing Prize and Browse and Darby. Solo shows in Leipzig, Prague and London including Eleven Spitalfields. Instagram, website: julieheld.com   About the postcard artworks   A new painting made to celebrate International Women's Day: women and agency.