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STEINER, HEINRICH STEINER, HEINRICH 1911 Kaiserslautern - 2009 Rom Titel: "Blick in den verwilderten Garten". Technik: Aquarell auf Maschinenbütten. Maße: 47,5 x 64,5cm. Bezeichnung: Signiert unten rechts: HSteiner. Bezeichnet verso: 53/64. Darüber betitelt. Rahmen/Sockel: Rahmen. Ausst.: Galerie Koch, Hannover 2011, Kat. S. 16. Lit.: Heinrich Steiner - Bilder eines Italiendeutschen, Stuttgart/Zürich 1993, S. 175, Abb.-Nr. 82. Erläuterungen zum Katalog Heinrich Steiner Deutschland Expressionismus Figurative Malerei Moderne Kunst Unikate Garten Papierarbeit Aquarell Pflanzen STEINER, HEINRICH STEINER, HEINRICH 1911 Kaiserslautern - 2009 Rome Title: "Blick in den verwilderten Garten". Technique: Watercolour on wove paper. Measurement: 47,5 x 64,5cm. Notation: Signed lower right: HSteiner. Inscribed verso: 53/64. Above this titled. Frame/Pedestal: Framed. Exh.: Galerie Koch, Hannover 2011, cat. p. 16. Lit.: Heinrich Steiner - Bilder eines Italiendeutschen, Stuttgart/Zurich 1993, p. 175, ill. no. 82. Explanations to the Catalogue Heinrich Steiner Germany Figurative Painting Modern Art Post War Garden Works on paper Watercolour Plants

DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Titel: Ohne Titel. Datierung: 2002. Technik: Aquarell und Tusche auf Velin. Maße: 35,5 x 28cm. Bezeichnung: Signiert unterhalb der Darstellung rechts: marcel DZAMA. Rahmen/Sockel: Rahmen. Prov.: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Marcel Dzama Kanada Figurative Malerei Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Mischtechnik Fabelwesen DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Title: Untitled. Date: 2002. Technique: Watercolour and India ink on vellum. Measurement: 35,5 x 28cm. Notation: Signed below the depiction right: marcel DZAMA. Frame/Pedestal: Framed. Prov.: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Marcel Dzama Canada Figurative Painting Contemporary Art 2000s Figure / Figures Works on paper Mixed media Mythical creature

DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Titel: Ohne Titel. Datierung: 2002. Technik: Aquarell und Tusche auf Velin. Maße: 29,5 x 23cm. Bezeichnung: Signiert unterhalb der Darstellung rechts: marcel DZAMA. Rahmen/Sockel: Rahmen. Prov.: Sammlung Prof. Dr. Thomas Olbricht, Essen. Erläuterungen zum Katalog Marcel Dzama Kanada Figurative Malerei Zeitgenössische Kunst Unikate 2000er Figur / Figuren Papierarbeit Mischtechnik Fantasiewesen DZAMA, MARCEL DZAMA, MARCEL 1974 Winnipeg Title: Untitled. Date: 2002. Technique: Watercolour and India ink on vellum. Measurement: 29,5 x 23cm. Notation: Signed below the depiction right: marcel DZAMA. Frame/Pedestal: Framed. Prov.: Collection Prof. Dr. Thomas Olbricht, Essen. Explanations to the Catalogue Marcel Dzama Canada Figurative Painting Contemporary Art 2000s Figure / Figures Works on paper Mixed media Fantasy Beings

MODERSOHN, OTTO MODERSOHN, OTTO 1865 Soest - 1943 Rotenburg Titel: Fischerhuder Überschwemmungslandschaft mit Booten. Datierung: Um 1912. Technik: Aquarell und Tusche auf Velin. Maße: 26 x 30cm. Bezeichnung: Signiert unten rechts: OModersohn. Rahmen/Sockel: Rahmen. Das Aquarell bezieht sich auf ein Ölgemälde im Bestand der Landesgalerie Oldenburg. Wir danken Herrn Rainer Noeres, Otto Modersohn Museum Fischerhude, für seine freundliche, wissenschaftliche Unterstützung. Prov.: Galerie Cohrs-Zirus, Worpswede; Privatsammlung Nordrhein-Westfalen. Erläuterungen zum Katalog Otto Modersohn Deutschland Expressionismus Berliner Sezession Moderne Kunst Unikate 1910er Landschaft Papierarbeit Mischtechnik Boote MODERSOHN, OTTO MODERSOHN, OTTO 1865 Soest - 1943 Rotenburg Title: Fischerhuder Überschwemmungslandschaft mit Booten. Date: Ca. 1912. Technique: Watercolour and India ink on vellum. Measurement : 26 x 30cm. Notation: Signed lower right: OModersohn. Frame/Pedestal: Framed. The watercolour refers to an oil painting in the collection of the Landesgalerie Oldenburg. We thank Rainer Noeres, Otto Modersohn Museum Fischerhude, for his kind, scientific support. Prov.: Galerie Cohrs-Zirus, Worpswede; Private collection North Rhine-Westphalia. Explanations to the Catalogue Otto Modersohn Germany Berlin Secession Modern Art 1910s Landscape Works on paper Mixed media Boats

Carus, Carl Gustav (attr.) Leipzig 1789 - Dresden 1869 19,5 x 26 cm, o.R. Fenster in der Burgruine von Tharandt. Aquarell und Bleistift/Papier. Provenienz: Aus süddeutschem Adelsbesitz. Das vorliegende Aquarell zeigt ein Fenster in der Burgruine von Tharandt, einer 13 km südwestlich von Dresden gelegenen Ortschaft. Carus war offenbar mehrfach in Tharandt und hat die dortige Ruine in verschiedenen Ansichten festgehalten, wie einige Bleistiftzeichnungen im Kupferstich-Kabinett der Staatlichen Kunstsammlungen Dresden belegen. Eine Zeichnung mit demselben Motiv ist nahezu vom selben Standpunkt aus entstanden (Inv.-Nr. C 1963-197). Ebenso wie die Dresdener Zeichnung wird man auch das vorliegende Aquarell als Vorstudie für das Gemälde "Aussicht" sehen dürfen, das bei Grisebach in Berlin im November 2011 als Lot Nr. 103 versteigert wurde. Vgl. auch Marianne Prause, Carl Gustav Carus. Leben und Werk, Berlin 1968, WVZ Nr. 22 und Friedrich von Boetticher, Malerwerke des neunzehnten Jahrhunderts, Bd. I,1 s.v. Carus Nr. 3. CARUS, CARL GUSTAV (attr., 1789-1869). A window in the ruined castle of Tharandt near Dresden. Watercolour and pencil/paper. The present watercolour shows a window in the castle ruins of Tharandt, a village 13 km southwest of Dresden. Carus has apparently been in Tharandt several times and has made studies of the ruins in different views, as some pencil drawings in the gallery of prints of the Staatliche Kunstsammlungen Dresden are showing. A drawing with the same motif has been made from almost the same point of view (Inv.No. C 1963- 197). Just like the Dresden drawing, the present watercolor could also be seen as a preliminary study for the painting "Aussicht", which was auctioned at Grisebach, Berlin in November 2011 as lot no. 103. Cf. also Marianne Prause, Carl Gustav Carus. Leben und Werk, Berlin 1968, catalogue raisonné no. 22 and Friedrich von Boetticher, Malerwerke des neunzehnten Jahrhunderts, vol. I, 1 s.v. Carus no. 3. Provenance: Property of a Southern German noble family.

Jack Butler Yeats RHA (1871-1957) The Rake Crossing Sligo Bridge Watercolour, 35.5 x 25.5cm (14 x 10'') Signed Provenance: With The Dawson Gallery, label Verso. Yeats specialized in depicting various characters of the West of Ireland in his early watercolours and oils. The Rake is one of these figures. The artist first sketched what he described as a 'rake', that is a stylish man of dissolute habits, in Galway in 1900, making a watercolour painting of the figure the following year. The work under consideration here, dates to 1908, and is also known as Sligo Bridge and shows another rake crossing the Garavogue river in the centre of Sligo, Yeats's hometown. Silhouetted against the streets and houses, the figure ambles along with his hands firmly in his pockets. Such a pose was associated with idleness and was considered by the Victorians as suggestive of defiance and even vulgarity and impudence. The dapper young man wears a neat muffler and a smart hat. He turns to gaze to his right, across the street, at some unseen but evidently, judging from his grinning expression, amusing sight. Orange and blue tones delineate the structure of the houses, the brickwork of the bridge and the shadows cast by the figure. These complimentary colours, pervasive throughout the composition, are subtle in tone. They diffuse the tension of the jaunty figure integrating him into his surroundings of open spaces and clear expansive light. Movement is conveyed in the striding legs of the man, the dancing gait of his feet and by his twisted torso. The torrential waves of the river that rise up in the background add to this sense of immediacy and veracity. Yeats gave The Rake to his friend, the Rev. Arnold Harvey who was rector at Lissadell, close to Sligo. The artist stayed with the cleric in the summer of 1908 and a sketchbook, now in the National Gallery of Ireland, records many of the incidents of the visit. The Rake is very likely based on an encounter experienced on this sojourn. Harvey and Yeats and his wife Cottie had met at Coole Park in the early 1900s when Harvey was employed by Lady Gregory as a tutor in classics to her son Robert. He was ordained as a Church of Ireland minister in 1903. He corresponded with Yeats and the two friends visited each other over the following years. The Rake is an amusing and empathetic image of a young manabout town and diverges from the disapproving portrayals of the Irish found in more conventional representations of the time. The work was exhibited in London and Dublin before being given to Harvey, who presumably shared Yeats's appreciation of the rake. Dr Róisín Kennedy, October 2020

With Hand-Coloured Fore-Edge PaintingBinding: Young (Edward) The Complaint; or Night Thoughts, 12mo L. 1813. New Edn., engd. port. frontis & 9 plts., a.e.g., cont. straight grained crimson mor. with gilt tooled fillet & decorated borders, spine gilt in panels. V. good. (1)* With fine watercolour fore-edge painting of Eton College & Chapel.

With Attractive Fore-Edge PaintingsAustin (Gilbert) Late Chaplain at the Magdalene Asylum, Dublin. Sermons on Practical Subjects, Preached in Dublin, 8vo L. 1795. First Edn. advert leaf at end, cont. hf. mor. mor. labels. (2)* With fine large watercolour fore-edge painting of a rural landscape with figures boating on river in foreground, village and church beyond; also Westall and Martin - Illustrations of The Bible, Vol. I, 8vo L. 1835. Woodcut illus. thro.-out, cont. hf. calf.* With attractive English rural landscape with figures on pathway in foreground, Cathedral beyond.

With Hand-Coloured Fore-Edge Painting of HobartBinding: Gehrig (J.M.) Gott ist die Reinste Liebe, 12mo Wurzburg 1825. Hf. title, engd. frontis & 1 plt., cont. green mor. with attractive gilt draped curtain border & tooled gilt spine. (1)* With very fine watercolour fore-edge Painting of Hobart Settlement, [Tasmania] looking in from the water, with boats, inscribed 'Hobart 1830'.

Plunkett, Joseph Mary [1887-1916], Proclamation Signatory An original Painting of a Landscape Scene, oil on canvas board, framed, 29cms h x 39cms w (11 1/2" x 15 1/2"), Signed Ióseph Ó Pluinghcéid lower left, further signed and inscribed on rear in Irish, 'Ióseph Ó Pluinghcéid / Sráid Mhic Uí Uilliam Uachtar / Baile Átha Cliath / Tobar Neamh-Parthalán' [St. Bartholomew's Well] and dated 1916. (1)Joseph Plunkett was a son of George Noble Plunkett, an antiquarian and fine art connoisseur, Director of the National Museum 1907-16 and prominent in other learned societies. Joseph was a poet and a friend of Thomas MacDonagh, and became editor of the Irish Review, and although he was seriously ill with TB (then an incurable disease), he became Director of Operations for the Irish Volunteers and a member of the I R B's Military Council. It is said that he drafted the plan for the Dublin rising. He was one of the seven signatories of the Provisional Government's Proclamation of Independence. He left a convalescent home to serve in the GPO through the Rising, where his aide-de-camp was Michael Collins, and afterwards was court-martialled and sentenced to death. Shortly before his execution,he married his sweetheart Grace Gifford in Kilmainham Jail.As well as his poetry, he painted as a recreation, including some landscapes of Mayo and Donegal scenes, where he went to learn Irish. A watercolour was sold at Adams in April 2016; this is the first oil painting we have seen. Although the provenance is obscure, there is in our view no doubt about the signature and inscription. There is a St. Bartholomew's Well (Tobar Pharthaláin) near Bantry, Co. Cork; there may be others.

John Warwick Smith (1749-1831), watercolour "The New Embankment Across Traeth Mount Near Tremador, Caernarvonshire". 15 cm x 21.5 cm. CONDITION REPORT: The painting is in generally extremely good condition. There is no evidence of any foxing or significant discolouration. The colours are fairly bright and strong. The picture is well mounted and framed.

W. Collingwood Smith RWS, watercolour, "Alps of Savoy". 30 cm x 54 cm, framed, signed. CONDITION REPORT: The painting is in generally good condition. There is some slight staining to the sky indicating that the painting has been a little damp at some time. This should be visible in our image. The paper on which the picture is painted is slightly bowed at the bottom edge and re-mounting might be required. It may have slightly slipped in the frame. The frame itself is in generally good order with only minor losses and blemishes.

George Barret RA (1732-1784), watercolour, figures in boat by rocky outcrop with sheep in landscape. 21 cm x 26 cm. CONDITION REPORT: The painting is in generally very good order with no significant issues. There is perhaps slight fading to the right hand side in the sky area, but this may simply be the composition. The painting is well mounted, framed and glazed. The frame is a simple gilt frame. The picture could be hung and enjoyed in its present state without the need for any work.

W. Sidney Cooper, watercolour, Highland cattle in landscape. 35 cm x 26 cm, framed, signed and dated 1902. CONDITION REPORT: There are some minor traces of foxing in the top left hand quadrant of the painting. It is principally above the mountains in the clouds. There are four or five easily visible spots and other smaller ones. The paint may be a little faded in the mountain and sky area. This may be the way in which the picture was painted as the cattle and gorse etc are quite strong in colour. The gilt mount is in reasonable condition as is the frame which has only minor losses to the gesso, particularly in the bottom right hand corner. There are also further edge nibbles and other small losses to the beading.

GEORGE ENGLEHEART (1752-1829) "Gentleman in blue overcoat with white stock", a miniature portrait study, bust length, oil on ivory, oval, unsigned, inscribed verso "G Engleheart Pinxit..... 1805", 8.3 cm x 6.9 cm, housed in a red leather cover folding case CONDITION REPORTS Is it definitely oil? Yes - not watercolour. There is some flaking to the paint at the bottom right towards the edge - clearly visible in the photographs. The piece appears generally slightly grubby - arguably benefitting from a good clean. The reverse has tape around the edge and signs of old paper being glued - thankfully not over the writing. The ivory appears slightly warped. Glass is basically intact. The case is slightly warped and with signs of old paper labels. The case will close but under duress (not too much). One closure hook is missing. Silk to interior marked - suggest requires attention. This said, overall the painting looks good.

Owen Williams (British Contemporary) Woodcock in the Snow, watercolour, signed and dated '87 bottom right, mounted and framed, measurements 36 x 54 cm, frame 64 x 83 cmLabel verso for H.C. Dickins art dealersCondition report: This painting is a watercolour, the paper appearing in good overall condition with no obvious evidence for rips, tears or creasing. The paint condition appears good, no obvious signs of fading or paint loss. There appears to be a stain to the upper centre-left. Not examined external to the frame.

A 20th Century Chinese pen and ink fan painting on paper, depicting elderly man and child playing draughts, signature and seal marks, 55cm; and 19th Century Chinese school, "Ancestor" study, unsigned watercolour, image 32cm x 18cm (2)

Christ Church from the Meadow, Oxford signed lower left 'Michael Brockway 1964' watercolour on paper 37 x 56cmFootnote: Born in London, Michael Gordon Brockway was educated at Stowe School and Peterhouse, Cambridge. After World War II, Brockway studied under Simon Bussy (1870-1964) in France. After deciding to take up painting professionally, he pursued his studies at the Ruskin School of Drawing, Oxford, and Farnham School of Art.

A Man in armour watercolour on paper 39.5 x 27cmFootnote: The present watercolour is a copy after the painting on panel in the National Gallery, London, where the composition derives from the figure of St George in armour in Giorgione's 'Castelfranco Madonna' altarpiece. Both the watercolour and the National Gallery painting eliminate the Saint's helmet and crop the composition so that the flag at the top of the staff is no longer visible. Another 19th century copy of this composition, in oil, is in the Victoria and Albert Museum.

25th Foot watercolour by C.P. Lawson. Published in “A History of the Uniforms of the British Army” Vol IIIA original work by the author of “History of Uniforms of the British Army” 1961. This painting depicts Officers, Other Ranks, Bandsmen etc. in the various forms of dress, whilst the Regiment was at Minorca. The men wear a variety of head-dress, including bicorn hats, fur cap and Tam-o’-Shanter. Set into a card mount. GC Size 21 x 19 inches. This painting is published in Vol III opposite the title page.

Lyonel FeiningerDesign for Mural "SS Constitution". Verso: Segelschiffe und Kreuzer. Aquarell und Tuschfeder, bzw. schwarze Kreide- und Tuschfederzeichnung auf elfenbeinfarbenem Büttenpapier 23,6 x 63,5 cm Unter Glas gerahmt. Unten links mit Tuschfeder signiert und datiert 'Feininger 1949' und am Unterrand bezeichnet 'Design for mural, "SS.Constitution", not carried out.' - Die untere linke Ecke rückseitig mit dem ovalförmigen Stempel "Feininger Estate" versehen und mit Bleistift "103" nummeriert. - Mit schmalem sehr schwachen Lichtrand.Mit einer Expertise von Achim Moeller, The Lyonel Feininger Project LLC, New York, vom 1. November 2011. Die Arbeit ist im Archiv der Zeichnungen und Aquarelle Lyonel Feiningers unter der Nr. 1066-11-01-11 aufgenommen.ProvenienzMarlborough International Fine Art, London (Rahmenetikett); Privatsammlung Norddeutschland„Ich lebe von der Erinnerung und der Sehnsucht - sie bilden wohl die Triebkraft zu allen tiefen Werken der Kunst; aber das berauschende Erleben von Neuem und Congenialem schafft den Boden für eine große Erneuerung und Vision [...]“ schreibt Lyonel Feininger 1930 an seine Frau Julia (Brief vom 9. August 1930, zit. nach Ausst. Kat. Feininger. Frühe Werke und Freunde, Wuppertal 2006, S. 67).Als Künstler begeisterte sich Feininger zeitlebens für maritime Themen, und so verwundert es nicht, dass er sich 1949 mit großem Elan dem Auftrag eines großformatigen Wandbildes für die im Bau befindliche SS Constitution widmet. Konzipiert als klassischer Ocean-Liner sollte der Dampfer noch im selben Jahr in Massachusetts vom Stapel laufen. Für die Reederei American Export Lines fuhr die Constitution ab 1951 zunächst im Liniendienst auf der Route New York-Genua-Neapel-Gibraltar und später auch als Kreuzfahrtschiff. Von Feininger sind eine Reihe von Entwürfen für dieses Projekt überliefert, die an Bord jedoch nicht zur Ausführung kamen. Umso wichtiger erscheinen somit heute die panoramaartigen Aquarelle des Künstlers, in denen Feininger seine atmosphärischen marinen Szenen noch einmal in ein ganz besonderes Format bringt. In unseren Entwürfen greift Feininger nicht auf Dampfer wie die Constitution zurück, sondern auf geisterhaft wirkende Großsegler. Wie als Botschafter eines vergangenen Zeitalters nähern sie sich dem Betrachter prachtvoll geschmückt mit phantastischen Flaggen aus dem Nebel. Lyonel FeiningerDesign for Mural "SS Constitution". Verso: Segelschiffe und Kreuzer. Watercolour and pen and ink, resp. black chalk and pen and ink drawing on ivory-coloured laid paper 24 x 63.5 cm Framed under glass. Signed and dated 'Feininger 1949' in pen and ink lower left and inscribed 'Design for mural, "SS.Constitution", not carried out.' lower margin. - Oval stamp "Feininger Estate" verso lower left corner and numbered "103" in pencil. - Very weak narrow light-stain.With an expert report by Achim Moeller, The Lyonel Feininger Project LLC, New York, dated 1 November 2011. The work is registered in the archive of drawings and watercolours by Lyonel Feininger under no. 1066-11-01-11.ProvenanceMarlborough International Fine Art, London (Rahmenetikett); Privatsammlung Norddeutschland“I live on memory and yearning - they surely form the driving force behind all deep works of art; however, the intoxicating experience of the new and congenial provides the soil for a great renewal and vision,” wrote Lyonel Feininger to his wife Julia in 1930 (Letter of 9 August 1930, cited in exhib. cat. Feininger. Frühe Werke und Freunde, Wuppertal 2006, p. 67).Throughout his life, maritime subjects captivated Feininger as an artist, and so it is no surprise that, in 1950, he enthusiastically devoted his attention to a commission to create a large-format wall painting for the SS Constitution, which was being built at that time. Conceived as a classic ocean liner, the steamer was to be launched later that year in Massachusetts. From 1951 the Constitution served the line New York-Genoa-Naples-Gibraltar for the company American Export Lines and later also served as a cruise liner. A number of Feininger's design sketches for this project are preserved, although they were never carried out on-board. The artist's panorama-like watercolours thus seem all the more important today: in them, Feininger once again introduces his atmospheric maritime scenes into a very distinctive format. In our designs, Feininger makes use not of steamers like the Constitution but spectral tall ships. Like emissaries from a bygone era they emerge out of the fog, splendidly adorned with fantastic flags, to present themselves to their viewers.

Emil NoldeTosendes Meer Aquarell auf Japanpapier 33,5 x 45,5 cm Unter Glas gerahmt. Unten rechts mit Feder und schwarzer Tusche signiert 'Nolde'. - In sehr schöner, farbfrischer Erhaltung.Mit einer Foto-Expertise von Manfred Reuther, Klockries, vom 12. Oktober 2020.Das Werk ist in seinem Archiv unter der Nummer "Nolde A - 184/2020" registriert und dokumentiert.Wir danken Christian Ring, Stiftung Seebüll Ada und Emil Nolde, für ergänzende Informationen.ProvenienzJolanthe Nolde, geb. Erdmann (1921-2010), Nachlass; seitdem in FamilienbesitzAusstellungenHeidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, Kat. Nr. 35 ("Tosendes Meer")LiteraturVgl. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Köln 1976, S. 376-379 sowie Martin Urban, Nachwort, ebenda S. 418Die Farb- und Formgewalt von Noldes Aquarell „Tosendes Meer“ erinnert daran, welchen künstlerisch hohen Stellenwert die Meeresbilder in seinem Oeuvre einnehmen. Die Ölbilder entstehen - rauschhaft und wie in Extase gemalt - z.T. hintereinander in großen gemalten Folgen, insbesondere 1930 anlässlich des Aufenthaltes auf Sylt (vgl. „Meer“ A - F, Urban 1100-1105; davon nur 4 Bilder heute erhalten, darunter „Meer B“ in der Tate Gallery, „Meer E“ in der Nolde-Stiftung). Nach dem Krieg 1947 folgen vergleichbare Formate, von denen eines Jolanthe Nolde gehörte und im Heidelberger Kunstverein 1958 zusammen mit dem vorliegenden Aquarell ausgestellt war (vgl. Urban 1290 sowie Urban 1291-1292, „Meer“ I-III). Noldes ausdrucksstarke Papierarbeiten begleiteten die Gemälde, das Medium des Aquarells schien dazu wie geschaffen.Wie sehr den Künstler das Thema als Erlebnis fesselte, zeigen seine stakkatoartigen Ausführungen „Am Westmeer“ von seinem Sylter Aufenthalt im Sommer und Herbst 1930: „Es war, als ob die freie Luft, der salzige Geschmack, die tosenden Wogen mich spornten und beglückten. […] Die Wogen, ihr Grollen, die Wolken vor und über mir, der Strand, die Dünen, das graue Gras, es alles war mein. […] Wie ein Trunkener lief ich stundenlang den Strand entlang oder durch den flüssigen Sand der Dünen, meine Gesänge schreiend, wo es einsam war, schreiend mit den Möwen, die auch so schreien. […] Ich begriff alles kaum und nahm es hin, gelassen bewegt, wie auch meine Farben es waren, ob ich die graugrünen Dünen malte, das tosende Meer oder die Menschen.“ (Emil Nolde, Mein Leben, op.cit., S. 377). Seine Naturerfahrung ist eine mit allen Sinnen wahrgenommene und dieses sensorische, auch akustische Moment findet sich mit aller Meisterschaft in seinem Werk umgesetzt.In der vorliegenden Komposition ist die Intensität und Farbfrische des Mediums in selten schöner Erhaltung besonders beglückend: die Farben glühen und fluoreszieren, man erlebt die Bewegung untergründiger Tiefenströmungen in starken wie rhythmischen Hell-Dunkel-Kontrasten und transparenten Farblagen, die Wogen mit ihrer explosiv aufschäumenden Gischt als ein moduliertes, blendendes Weiß, wobei der Malgrund, ein faseriges Japanbütten, einbezogen wird. Die Expressivität des Blattes resultiert nicht zuletzt aus der Sicherheit und Freiheit, mit der Nolde instinkthaft das Motiv quasi à rebours entwickelt, denn die flüssige malerische Bewegung unterstreicht die Urgewalt der von rechts nach links heranlaufenden, unruhigen Wassermassen, die sich zu einem schimmernden zentralen Brecher aufsteilen. Emil NoldeTosendes Meer Watercolour on Japan paper 33.5 x 45.5 cm Framed under glass. Signed 'Nolde' in pen and black ink lower right. - In very fine condition with fresh colours.With a photo-certificate by Manfred Reuther, Klockries, dated 12 October 2020.The work is registered and documented in his archive under number "Nolde A - 184/2020".We would like to thank Christian Ring, Stiftung Seebüll Ada und Emil Nolde, for additional information.ProvenanceJolanthe Nolde, geb. Erdmann (1921-2010), estate; since then in family possessionExhibitionsHeidelberg 1958 (Kunstverein), Emil Nolde. Gemälde - Aquarelle - Graphik. Eine Privat-Sammlung, cat. no. 35 ("Tosendes Meer")LiteratureCf. Emil Nolde, Am Westmeer 1930, in: Emil Nolde. Mein Leben, Cologne 1976, p. 376-379, and Martin Urban, Nachwort, ibid. p. 418The chromatic and formal force of Nolde's watercolour “Tosendes Meer” reminds us of the high artistic status that seascapes possessed within his oeuvre. The pictures done in oils - painted in exhilaration, as if in ecstasy - were sometimes created one after the other in large painted series, particularly in 1930, on the occasion of his stay on Sylt (see “Meer” A - F, Urban 1100-1105; of which only 4 pictures are preserved today, including “Meer B” in the Tate Gallery and “Meer E” in the Nolde-Stiftung). After the war, in 1947, paintings of comparable formats followed, one of which belonged to Jolanthe Nolde and was exhibited at the Heidelberger Kunstverein in 1958, together with the present watercolour (see Urban 1290 and Urban 1291-1292, “Meer” I-III). Nolde's highly expressive works on paper accompanied his paintings; the medium of the watercolour seemed particularly adequate for this purpose.The extent to which this theme captivated the artist as an experience is shown by the staccato-like observations “Am Westmeer”, from his stay on Sylt in the summer and autumn of 1930: “It was as if the open air, the salty taste, the roaring waves spurred me on and delighted me. […] The waves, their rumbling, the clouds before and above me, the beach, the dunes, the grey grass: it was all mine. […] Like a drunk I walked along the beach for hours or through the liquid sand of the dunes, screaming my songs where it was secluded, screaming with the seagulls, which also scream like that. […] I barely understood everything and accepted it, calmly moved - like my colours were, too - whether I was painting the greyish green dunes, the roaring sea or the people.” (Emil Nolde, Mein Leben, Cologne, 1976, p. 377). His experience of nature is one perceived with all the senses and this sensory, also acoustic, aspect finds itself realised with complete mastery in his work.The intensity and fresh colours of the medium are unusually finely preserved and are particularly pleasing in the present composition: the colours smoulder and glow, we experience the movement of deep, submerged currents in stark and rhythmic contrasts of light and dark as well as transparent layers of colour, and we experience the waves, with their explosively foaming spray, as a modulated, dazzling white that also incorporates the painting's support - a fibrous, laid Japan paper. The sheet's expressivity is not least the result of the confidence and freedom with which Nolde has instinctively developed the motif, so to speak, “à rebours”: the fluid painterly movement underscores the primal force of the troubled masses of water flowing towards us from right to left, rising up steeply into a shimmering, central breaker.

Raoul DufyNature morte aux fruits, baigneuses et voiliers Gouache auf dickem Aquarellpapier 50,2 x 65 cm Unter Glas gerahmt. Unten rechts in der Darstellung mit Bleistift signiert 'Raoul Dufy'. - Sehr farbfrisch erhalten.Die Gouache wird in den Nachtrag zum Werkverzeichnis der Aquarelle, Gouachen und Pastelle Raoul Dufys von Fanny Guillon-Lafaille, Paris, aufgenonmmen. Die Arbeit ist im Archiv Raoul Dufy verzeichnet. Wir danken Fanny Guillon-Lafaille für freundliche Auskunft.ProvenienzKunsthaus Bühler, Stuttgart (1995); Privatsammlung NorddeutschlandAusstellungenSpa 1994 (Casino de Spa), Raoul Dufy; 1994/1995 Tokyo/Kasama/Himeji/Toyohashi (Bunkamura Museum/Nichido-Museum/Himeji City Museum of Art/Toyohashi City Art Museum), Raoul Dufy, Mer et Musique, Kat. Nr. 51 mit Abb.; Stuttgart 1995 (Kunsthaus Bühler), Raoul Dufy. Gemälde, Aquarelle, Gouachen, Zeichnungen, Kat. o. Nr. mit ganzseitiger Farbabb.Mit großer Erzählfreude entwirft Raoul Dufy in dieser Gouache eine mediterrane Szenerie voll sommerlicher Leichtigkeit. Das strahlende Blau des Mittelmeeres bildet die Kulisse, in der der Betrachter gemeinsam mit dem Künstler auf ein imposant aufgebautes, jedoch nur mit sparsamen malerischen Mitteln erfasstes Früchtestillleben und weiter über die Balustrade eines Balkons blickt, wo sich Schwimmer, Segler und Dampfschiffe im Wasser tummeln.Dufy arbeitete mit Farbfeldern in intensivem Rot und mehreren Blautönen, in die er die Bildelemente - Früchte, Balustrade, Schiffe und Schwimmer - skizzenhaft in schwarz, rot und weiß einschreibt. Der Farbeindruck erinnert, vielleicht nicht zufällig, an die französischen Nationalfarben. Der Einsatz von leuchtender Farbe und ihre Verwendung als eigenständiges Bildmittel, die Dufy 1905 im Salon des Indépendants in den Werken von Henri Matisse und André Derain kennengelernt hatte, faszinierten den jungen Maler solchermaßen, dass er sich den fauvistischen Künstlern anschloss. Eine intensive Farbigkeit, insbesondere das Blau seiner Regatta-Bilder, kennzeichnete von da ein sein Oeuvre. Raoul DufyNature morte aux fruits, baigneuses et voiliers Gouache on thick watercolour paper 50.2 x 65 cm Framed under glass. Signed 'Raoul Dufy' in pencil within the depiction lower right. - Very fresh colours.The gouache will be included in the supplement of the catalogue raisonné of Raoul Dufy's watercolours, gouaches and pastels by Fanny Guillon-Lafaille, Paris. The work is registered in the Archive Raoul Dufy. We would like to thank Fanny Guillon-Lafaille for kind information.ProvenanceKunsthaus Bühler, Stuttgart (1995); Private collection, North GermanyExhibitionsSpa 1994 (Casino de Spa), Raoul Dufy; 1994/1995 Tokyo/Kasama/Himeji/Toyohashi (Bunkamura Museum/Nichido-Museum/Himeji City Museum of Art/Toyohashi City Art Museum), Raoul Dufy, Mer et Musique, cat. no. 51 with illus.; Stuttgart 1995 (Kunsthaus Bühler), Raoul Dufy. Gemälde, Aquarelle, Gouachen, Zeichnungen, cat. with full-page colour illus.In this gouache Raoul Dufy has laid out and thoroughly enjoyed telling the story of a Mediterranean scene filled with the lightness of summer. The radiant blue of the Mediterranean Sea provides the setting within which viewers, together with the artist, gaze at a still life of fruit that is grandly composed but whose depiction makes only sparing use of the means of painting and - beyond it, over the balustrade of a balcony - at swimmers, sailing boats and steamboats bustling about in the water.Dufy works with fields of colour in an intense red and multiple shades of blue, into which he has sketchily inscribed the elements of the picture - fruit, balustrade, ships and swimmers - in black, red and white. The chromatic impression is reminiscent, perhaps not coincidentally, of the national colours of France. Dufy had become familiar with the employment of luminous colour and its use as an autonomous pictorial device through the works of Henri Matisse and André Derain at the Salon des Indépendants in 1905, and it fascinated the young painter so much that he joined the Fauve artists. An intense tonality, particularly the blue of his regatta pictures, characterised his oeuvre from that time on.

A 19TH CENTURY WATERCOLOUR OF A BOY WRITING HIS LINES ('Be a Good Boy..'), and an oil on board painting of a young shepherdess, in a gilt frame

JONES large surrealistic painting, mixed media, 76 x 55cms and FLORA BOOTE large watercolour study - sunflowers, 71 x 51cms

Paul Marny (1829-1914)Watercolour"Normandy", signed lower right, 15cm x 34cm Eyres Simmons (1872-1955)WatercolourCoastal scene with cottage and figure on a lane, signed lower left, 14cm x 22cm Jean MarchandPen and inkInterior scene, unsigned, marked verso (3) Condition ReportMarney-  Some light foxing, marks to the top right, possibly some fading and discolouration.Simmons - Numerous areas of foxing, possibly some fading and discolouration.Marchard - Fair condition with possibly some fading and discolouration.No provenance, private vendor.All Painting have general wear and tear commensurate with age and use.  See photos for details.

After Thomas Gainsborough'Lavinia' - a cottage girl with a bowl of milkwatercolour and bodycolour57 x 43cmProvenance: Horton Lodge, Windsor, Berkshire.The present watercolour is a copy of Gainsborough's painting of 1786 now in the South African National Gallery, Iziko Museums, Cape Town, South Africa.Condition report: Two holes close to lower left corner. The paper has discoloured and there are brown stains throughout. Some surface dirt and a few small spots of foxing. A small tear upper right. Some surface scratches in the centre left area. A light scratch above her shoulder, three pale dots above the head, and some very tiny dots of paint loss to the figure, possibly from surface abrasion. Gum arabic is cracking a little in the darker sections. Two patches of paper attached verso although we cannot see any damage. Not seen outside of frame.

After Sir John Everett Millais A Huguenotoil on panel14 x 10cm, in an ornate scrolled gilt frameSir John Everett Millais's original painting of 'A Huguenot' is in a private collection; there is a watercolour of the same subject in the Higgins Museum and Art Gallery, Bedford.The young girl is attempting to protect her lover by asking him to wear a Catholic armband. He refuses because he does not wish to deny his Protestant faith.Condition report: Oil on a small wooden panel. The paint layers are in stable condition but there is extensive overpaint across the surface which is well matched to the original. The varnish is clear, glossy and even. The frame has a broken section at the top but is otherwise sound.

Helen Cordelia Angell RWS (1847-1884)Portrait of Master Jack Wentworth Angell, the artist's son, with a fishing netwatercolour on buff paper32 x 23cmProvenance: By descent within the family of the sitter.Helen Cordelia Angell was one of twelve children. She learned painting and drawing from her older brother, the painter and illustrator William Stephen Coleman, and was awarded membership of the Royal Watercolour Society and the Royal Institute of Painters in Watercolours. Mrs Angell became Flower Painter to HM Queen Victoria in 1879 and held the position until her early death. Her painting 'Study of a bird's nest' was included in the 1905 book 'Women Painters of the World' and her work is in the collection of the Victoria and Albert Museum.Condition report: Discolouration of the paper, especially noticeable close to the mount. The colours have faded a little. A very small indent and scratch to the paper to the right of the top of the chair. Possibly a light scuff under the boy's feet. Not seen outside of frame.

Richard Parkes Bonington (1802-1828)The Interior of Sant'Ambrogio, Milanbears a later signature l.l., oil on paper laid to panel17 x 21cmProvenance: The Bonington Studio Sale; Sotheby's, 29 June 1829, lot 61, bt. Colnaghi (£300);Captain W Webb; anon. sale, Paris, 23 May 1837, lot 15;Arthur Tooth and Sons Ltd., Bruton Street, Mayfair, London, W1 where acquired by Major A W Allan;Major A W Allan; 'Important English Pictures', Christie's London, 24 June 1977, lot 104 (sold for £1700).Literature: A Dubuisson, 'Richard Parkes Bonington', 1924, p.168.Bonington travelled to Italy for the first time in the Spring of 1826 and arrived in Milan with his companion Charles Rivet, who wrote 'We are in Milan, where at last we have unpacked and put to use our colour boxes ... I think that if Bonington can produce the paintings he has sketched his reputation will be made'. His first sketch in oil of the interior of the medieval basilica of Sant’Ambrogio, now in the Kimbell Art Museum in Fort Worth, Texas, was done on site on or around 11th April that year and was to be the basis for a highly finished watercolour, dated 1827 (Wallace Collection, no.714), with differences in the positioning of the figures. While in Milan Bonington also painted an interior, now lost, of the cathedral, before he and Rivet continued on to Verona in April 1827.The 1977 Christie’s catalogue description notes in its provenance: 'Dr Marion Spencer has kindly identified this as the picture sold in the Bonington Studio sale'.Condition report: Appears to be oil on laid card mounted onto a small panel with a cradle. There is an old tear in the upper right corner and an area of damage in the upper left with disrupted paint and darkened overpaint. There are small raised lumps cross the middle area of the painting which appear stable. The paint layer is in a good condition, there are a few scattered areas of overpaint across the surface. The painting has a thick layer of varnish which has yellowed and has some drips present in the texture. The frame has a few scattered losses.

Battle of Trafalgar Interest. The Companion Military Order of the Bath awarded to Captain Edward Rotheram, HMS Royal Sovereign Captain of HMS Royal Sovereign in the Battle of Trafalgar, including:- Facsimile of autograph letter of Lord Nelson to the R.H. The Duke of Kent" dated: Victory 22 July 1805.- A memoir relating to the late Capt. E Rotheram describing his actions at Trafalgar among other records of service- A letter to Capt. Rotheram's granddaughter regarding his tombstone/inscriptions etc.- Letter dated 19 September 1815 containing the ribbon and badge of a Companion of the most Honourable Military Order of the Bath awarded to Capt. Edward Rotheram- A copy of the Times newspaper of 7 November 1805 containing various letters from Lord Collingwood regarding the battle and the death of Lord Nelson- A copy of the Times Newspaper of 3 October 1798 containing letters from Admiral Nelson reporting on his Victory at the Battle of the Nile- A letter from Lord Viscount Howick to Capt. Edward Rotheram dated July 29th 1806 enclosing the CB he was awarded, along with Capt. Edward Rotheram's acknowledgement- Two slips of paper seeming to contain the signature of Admiral Collingwood.- Capt. Edward Rotheram's Statement of Service in the Royal Navy.- Capt. Edward Rotheram's wallet with inscription inside- Miniature portraits of Capt. Rotheram and his wife- Painting of Dorothea Rotheram- Marriage certificate of Capt. E Rotheram (5 March 1795)CONDITION: Suspension loop for the medal is tarnished but otherwise all looks to be in good untouched conditioncomes with:a framed engraving by Pickard of Rotheram with later gilt framean early 19th century pastel and gouache of his daughter, Miss Rotheram, later Lambert, in a Victorian bird's eye maple framea pastel portrait of his wife in good condition in period oval gilt gesso frame, 12 inchesa postcard size lithograph of the Captain in a George V silver frame, overall 8 inchesa portrait miniature in rectangular papier mache frame that looks to date to the late 19th century, glass is dirty, condition is faira portrait miniature c.1840 of Dorothea Rotheram wearing a fancy lace collar, glass dirty, miniature in good ordera silhouette of Mary Lucy Wesson relating to the Cardew familya further un-named small watercolour silhouettea red leather cased miniature of the Captain, with some mould under the glass but otherwise in good conditionloose miniature of a bride thought to be his wife, in good condition, held in a fish skin casea 3.5 inch turned wood snuff box stamped Oswalus Tree with label saying Piece of The Royal Sovereign, Grandfather's Shipassorted letters and related paperwork

E.CHOLLET a Continental river scene, signed and dated 1902, 44cm x 59cm together with a painting of a horse and foal, watercolour, 38cm x 51cm (2) Condition: oil on canvas with watermark lower left, some dirt build up, no holes or tears, some possible discolouration; the watercolour with some minor foxing

A quantity of various pictures, prints and watercolours to include a black and white print of Bob Marley; David Pegram watercolour study of the river Orwell and barges; an Egyptian revival painting on papyrus; an oil on canvas study of a wintery landscape initials O W; a pair of pencil signed limited edition prints by Emma Jeffryes etc

Jeremy Evans, 20th Century British school, ships in an 18th Century scene, signed oil on canvas, dated 1980, 75cm wide, an Oil painting of a cottage at dusk by a path, monogram oil on canvas, 49cm wide, together with a snowy scene watercolour, (3)

Framed Watercolour - Marked to Verso - St Paul de Vance France - Indistinct Signature to Bottom Left of Painting

DAVID JONES (1895 - 1974) watercolour - view of an unknown rural building with a foreground of enclosed garden with a dividing path, shrubs and trees, circa 1920/1930s, with Zwemmer Gallery label 'Orchard in Mallorca', old pencil inscription 'David Jones' verso, perhaps not by the artist but by an owner, 37 x 48cms Provenance: painting newly discovered, purchased from an estate sale in the Welsh borders by the vendor, incomplete torn label verso Auctioneer's Note: while being confident that the style and technique is that of David Jones, especially seen in the trees, shrubs and sky, we do not think that the title is correct on the label and have doubts as to whether the label relates to the picture or even the artist at all. The shared opinion, is that the building has the appearance of traditional barns found in the Welsh-English borders, rather than Mallorca in Spain. It has also been suggested that the building may be part of Piggots Farm, Buckinghamshire. There are similarities to Capel-y-Ffin monastery but this has been discounted by the present owner-occupiers. Certainly we have found no evidence of the artist ever visiting Spain. We believe that the label is for the Zwemmer Gallery, London as they used a sans serif typeface and their address was Litchfield Street. Acknowledgements: we would like to thank Valerie Wynne Williams, Peter Lord, Peter Wakelin and William Gibbs of Brecknock Art Trust for their invaluable help with researching this unrecorded painting and with its attribution to David Jones Presentation & Condition: the painting was delivered to us in a circa 1920s / 1930s frame and glass, it was secured by old rusted tacks and had clearly not been out of the frame for a long time, we removed the painting from the frame for research purposes and the picture remains out of frame for examination by prospective viewers, frame and glass retained

JOHN KNAPP-FISHER watercolour - early landscape with trees in marshland, entitled verso 'Heath and Bog', signed and dated 1966, 15 x 36cms Provenance: private collection, Buckinghamshire Presentation & Condition: no apparent problems with painting, original frame and mount which is in aged condition, glazed

ARTHUR H S RICHARDS watercolour and the artist's wooden easel - small study of machinery, entitled 'Scrap', signed, 11 x 17.5cms Provenance: vendor is grandson of artist, Buckinghamshire Presentation & Condition: adjustment on easel appears to be working, painting framed and glazed, no apparent problems

EDGAR HOLLOWAY watercolour on watercolour board - Black Mountains, Brecon Beacons landscape with trees, entitled verso 'Spring Time 1944, Above Capel-y-Ffin', signed, 38 x 28cms Provenance: private collection mid-Wales Auctioneer's Note: this painting is by coincidence the second painting in this auction with a connection to the artist commune at Capel-y-Ffin (please also see Lot 254). Edgar Holloway visited Eric Gill's former commune at Capel-y-Ffin monastery where he met Daisy Hawkins and then married her six weeks later. Daisy had been Eric Gill's favourite model. The couple set up home in Sychtre, Nant Honddu. Most of Holloway's paintings are now in public collections including the National Library of Wales, National Museum Wales, MOMA Machynlleth, Aberystwyth University, and Abergavenny Museum, they have all staged Holloway retrospective exhibitions. Presentation & Condition: no problems, neatly framed and glazed

A framed and mounted Watercolour of a garden scene, signed lower left, along with an Oil painting of a parkland with a monument, indistinctly signed lower right.

A framed and mounted Watercolour depicting an artist sat painting an old water mill, signed lower right Eric Pole, 25 1/2" x 20".

§ SIR WILLIAM RUSSELL FLINT P.R.A., P.R.W.S., R.S.W., R.O.I., R.E. (SCOTTISH 1880-1969) THE Signed and dated, watercolour(49.5cm x 67.5cm (19.5in x 26in))Footnote: Note: This painting is accompanied by two letters from the artist to the original owner. One referring to the origin of the title, and the other asking whether the painting would be available for an exhibition at the Royal Academy.

(See English version below)Magnus Zeller (Biesenrode b. Mansfeld 1888 – 1972 Berlin). Im Travestielokal. Um 1920Aquarell über Bleistift auf Papier. Rückseitig: Abenteurer. Um 1946. Aquarell und Tuschfeder. 55,7 × 37 cm ( 21 ⅞ × 14 ⅝ in.). Rückseitig signiert: Magnus Zeller.Nicht bei Helm. [3674] Gerahmt. Addendum/Erratum: Titel: „Lesbierinnen" (Café Lesbos). Werkverzeichnis: Helm A 1924-36. Es handelt sich um eine Vorzeichnung zu dem Gemälde „Lesbierinnen“ (Café Lesbos). 1929. Helm G 1929-11. Rückseitig: „Abenteuerer am Nebelsee“. 1946. Werkverzeichnis: Helm 1946-7.Wir berechnen auf den Hammerpreis 30% Aufgeld.Magnus Zeller (Biesenrode near Mansfeld 1888 – 1972 Berlin). Im Travestielokal. Circa 1920Watercolour over pencil on paper. On the reverse: Abenteurer. Circa 1946. Watercolour and pen and India ink. 55,7 × 37 cm ( 21 ⅞ × 14 ⅝ in.). Signed on the reverse: Magnus Zeller.Not in the catalogue raisonné by Helm. [3674] Framed. Addendum/Erratum: Title: „Lesbierinnen" (Café Lesbos). Catalogue raisonné: Helm A 1924-36. This is a sketch relating to the painting „Lesbierinnen“ (Café Lesbos). 1929. Cat. rais.: Helm G 1929-11. On the reverse: „Abenteuerer am Nebelsee“. 1946. Cat. rais.: Helm 1946-7.We charge 30% premium on the hammerprice.

Full set of BT 1996 Star Wars telephone cards and merchandise, including a full collectors album of BT 1996 telephone cards, plus 1986 VHS holographic poster, CBS Fox video box advert, plus two mirrors and a watercolour painting with enlarged photos, (7 items)

ALBERT H FINDLEY (1880-1975) a Cathedral entrance with figures on a pavement, signed bottom right, watercolour on paper, mounted, framed and glazed, approximate size 27cm x 36cm  Condition Report  The painting is in good condition. The mount is damaged, frame is dirty with small chips in places

THREE BOXES AND LOOSE PAINTINGS AND PRINTS, to include 'The Shop, Overy Staithe', a study of the Chandlers in Norfolk, signed bottom right, watercolour on paper, size approximately 32cm x 45cm, limited edition prints by Philip and Glynn Martin, signed Peter Welton print, D Martin 1970's painting of a young boy, Theresa Dewar watercolour of a plant study, Peggy Blunt Harbour oil on board, topographical prints, Picasso print, early 20th century photographic portraits, assorted prints, amateur paintings, needlework pictures and a quantity of mirrors

ALBERT MARLOW (1862-1911), 'LONGMOOR POOL, SUTTON COLDFIELD', figures and buildings beside a pool, signed and dated 1887, attribution plaque to frame incorrectly dated 1837, watercolour on paper, framed and glazed, size approximately 61cm x 91cm  (Condition Report  There is staining visible in the lighter areas of the painting such as the sky and pool. Craquelure and small losses to the frame.

W Bird, two paintings, studies of late 18th/early 19th century weather boarded granaries in watercolour and mix media, each 55 cm x 75 cm, both signed in gilt and silvered frames. CONDITION REPORT: Both of these works are in good condition. The view of the granary in a gilt frame is in a watercolour medium, whilst the other painting is a mixed media composition featuring acrylic charcoal and watercolour.

Michiel van Huysum (Amsterdam 1703 - Amsterdam 1777) Früchtestilleben Aquarell, 20 x 32,5 cm, u. Mitte sign. MV Huysum, unter Glas gerahmt, ungeöffnet. - Niederländischer Aquarellmaler aus einer Dynastie von Blumenmalern, der seine Kunst bei Jan van Huysum erlernte. Mus.: Amsterdam (Rijksprintenkabinett), Rotterdam (Mus. Boymans-van Beuningen), London (Brit. Mus.), Dresden (Gem.-Gal.), Cambridge (Fitzwilliam-Mus.) u.a. Lit.: Thieme-Becker, Bénézit. Huysum, Michiel van (Amsterdam 1703 - Amsterdam 1777) Still Life with Fruits Watercolour, 20 x 32,5 cm, lo. middle sign. MV Huysum, framed under glass, uninspected out of frame. - Dutch watercolour painter from a dynasty of flower painters who was taught painting by Jan van Huysum. Mus.: Amsterdam (Rijksprintenkabinett), Rotterdam (Mus. Boymans-van Beuningen), London (Brit. Mus.), Dresden (Gem.-Gal.), Cambridge (Fitzwilliam Mus.) a. others. Lit.: Thieme-Becker, Bénézit.

Group of Five Pictures including Black and White Watercolour of Moscow's St Basil Cathedral, signed and dated 1995, 42cms x 30cms, Picture of Three Naked Women signed M Gebard, Watercolour of a Fox, Painting of an Egyptian Cat and another Picture of a Cat

Culley B Grilley RWA 20th century watercolour painting outside a cottage signed together with a watercolour of a rurral scene.

Harry Rountree 1878 - 1950 pastel and watercolour painting of a stylised fox and feather 105 x 40 cm.

NELL, EUGEN (1905-1994) "Stockholm" Aquarell, sig., HxB: 19/25 cm, gerahmt, leichte Altersspuren. NELL, EUGEN (1905-1994) "Stockholm" Watercolour painting, signed, hxw: 19/25 cm, framed, slight signs of age.

Koller, Oskar Blumen in einer Vase (Erlangen 1925-2004 Fürth) Aquarell und Gouache, weiß gehöht. Rechts unten handsign. und dat. "(19)77". Blatt 38 x 27,5 cm; unter Glas ger. Fränkischer Künstler, Stillleben Koller, Oskar Flowers in a vase (Erlangen 1925-2004 Fürth) Watercolour painting and gouache, heightened with white. Signed and dated by hand at lower right ''(19)77''. Sheet 38 x 27,5 cm; framed under glass. - Lit. Vollmer 3+6. Franconian artist, still life

Zetsche, Eduard Von Bäumen gesäumter Brunnen auf einem Stadtplatz (Wien 1844-1927 ebd.) Aquarell. Rechts unten sign. und dat. "1912". Sichtmaß 27 x 37 cm; unter Glas ger. Düsseldorfer Malerschule, österreichischer Künstler, Vedute Zetsche, Eduard Tree-lined fountain on a town square (Vienna 1844-1927 ibid.) Watercolour painting. Signed and dated lower right ''1912''. Viewing size 27 x 37 cm; framed under glass. Austrian artist, veduta

WILFRED KNOX (1884-1966) 'Santa Maria Novella, Grand Canal, Venice', Watercolour painting, signed bottom right, 'W. Knox', 34cm x 50cm, gilt framed and glazed

F. E. BERESFORD (1881-1967) 'Village across the River', Watercolour painting, signed 27cm x 38cm, gilt framed

ALFRED PARKMAN watercolour - Mumbles under moonlight, entitled 'Mumbles', signed and indistinctly dated 1892 (?), 35 x 53cms (framed and glazed)There is a 3cms tear on the left side about half way down.There is some damage to the bottom left corner.There is a scratch in the sky area, top right corner.The painting has started to ripple under the mount.The gold mount also has some wear under the glass.

Michael Lyne (1912-1989) - A hunting scene depicting a huntsman on horseback with a pack of hounds in the foreground, trees and hills in the distance, signed and dated 1935, watercolour and gouache heightened with white, 14.75" x 20.25" - ** The work has a study of a fox in the margin in the lower right hand corner, also a companion picture titled 'The Cotswold Hounds', signed and dated 1936 also extensively inscribed verso ** The work bears an old label verso giving details of the work receiving the first prize for outstanding painting and is also numbered 33 in class four also bearing an old label with the artists address Gretton Hill Farm, Winchcombe, Gloucestershire with the original price of twelve guineas, twelve pounds twelve shillings (a pair)

An Indian gouache painting by Ranada Charan Ukil (Indian, 1900-1970), signed and dated 1924, titled 'Nature's Mirror' and signed again verso, depicting a woman dressing her hair from her reflection in a stream, 13¼ x 9in. (33.75 x 22.8cm.); together with a sepia Indian watercolour on silk, depicting a young nobleman and his lover in a landscape, probably early 20th century, 11 3/8 x 8¾in. (29 x 22.8cm.), both mounted but unframed. (2) * The painting by Ukil from Sotheby's, Dec. 1963 (fragment from catalogue pasted verso)