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A collection of framed painting and sketches to include J.W. Chinnery oil on board of horses, pencil sketches, landscape watercolour painting etc.

FOUR BOXES OF MISCELLANEOUS ITEMS, including a collection of watercolour and oil painting brushes, two models of yachts, a boxed Bestway blow up mattress, table lamps, kitchenalia, modern photo frames, modern Chinese giftware (four boxes)

*David Tindle RA (b.1932) Bottles on a window ledge signed with initials l.r., watercolour 21.5 x 28cm *Artist's Resale Right may apply to this lot.Condition report: There is possibly a very light wave to the paper, but if so very minimal and barely visible. A water stain to bottle second from left although this could have occurred at the time of painting. Some light grey mottling in the window area in left half, it is unclear whether this is damage. Not examined outside of the frame.

A large quantity of 19th cent  Qing dynasty and later Chinese watercolour pictures and prints  to include a Chinese boxed scroll painting  depicting crabs. . (qty)

A SIGNED WATERCOLOUR BY W.W.HUME 1978, AND A FURTHER WATERCOLOUR, AN OIL PAINTING, A SIGNED LIMITED EDITION PRINT, AN OIL PAINTING STILL LIFE, AND TWO FLORAL PRINTS. (7).

Nam Kwan (Korea, 1911-1990): Composition, watercolour on paper, dated 1974Dim.: 57 x 48 cm (the frame)Dim.: 45 x 36 cm (the painting excl. frame)Ê Korean spelling: __

F. MEARNS "Gleaner and Children at the Fallen Fence", Watercolour painting, signed, 42cm x 29cm, gilt framed, mounted and glazed Condition Report – Fading and some discolouration, particularly noticeable in the sky area, a brownish tinge, darkening to the edges near the mount, no noticeable rips or restoration.

F. MEARNS 'Mending the Nets', figures on a beach, Watercolour painting, signed, 42cm x 29cm, gilt framed, mounted and glazed

PHILIP WILSON SMITH 'A Prisoned King', a caged lion. Watercolour painting, signed and dated 1900, label to the reverse 'Artist Philip Wilson Smith, Ainsworth Hall, Bolton le Moors, Title A Prisoned King, No.2', 29cm x 47cm, plain gilded oak frame, glazed

HENRY JOHN SYLVESTER STANNARD, RBA, FRSA (1870-1951) 'Harvesting', with children seated on a riverbank, mid ground a bridge, to the distance hay carts and a church tower, Watercolour painting. signed 23cm x 33cm, gilt framed, mounted and glazed Condition Report – A few very small brown marks in the sky, some minor rippling to paper (not laid down which is good) a little light staining as watercolour nears the mount. Bright colour overall, no signs of rips or restoration.

A.D. TORESS 'Cockle Picker', (considered to be Swansea Bay) Watercolour painting, signed and dated (19)95, 35cm x 25cm, gilt framed, mounted and glazed

LATE 19TH CENTURY SCHOOL 'The Farmyard', figures at the water trough, farm buildings, distant landscape, Watercolour painting, 16cm x 25cm, gilt framed, mounted and glazed

FREDERICK MERCER R.B.S.A. (1871-1911) 'Worcester Cathedral', children fishing in the foreground, Watercolour painting, signed, 24cm x 35cm, gilt framed, mounted and glazed

ETHEL ATCHERLEY (1864-1905) 'Ludlow Castle and the Wye under a Rainbow', Watercolour painting, signed 60cm x 75cm, gilt framed and glazed, the frame bears a label to the reverse 'Manchester Academy of Fine Arts Jubilee Exhibition 1909'

Persian dancing girl, fine painting on paper [Qajar Persia, first quarter of the nineteenth century] single leaf, ink and watercolour on paper, depicting a dancing girl performing an acrobatic moment balancing on her forearms, placed on a Persian carpet with wine, pomegranates and a western tea cup and saucer, the lady is wearing pearls around her neck and a jewelled head-dress, some slight shadowing on the ground where she stands, else blank surrounding, exceptionally clean and bright condition, some very faint browning to edges from mount (not affecting image), 200 by 135 mm.; in gold-speckled mount, framed and glazed  

A Harem Scene, fine illuminated Indian miniature painting on paper [India (Kishangarh), first half of nineteenth century]single leaf, ink and watercolour on paper heightened in gilt, depicting six figures seated in a walled garden, wine vessels, ornate cups and a candle in the foreground, image ruled in gilt, some slight creases to paper, else exceptionally clean and attractive condition, c. 150 by 250 mm.; framed and glazed

George Landseer, "Rewah Horsemen", oil painting on canvas [India (Madhya Pradesh), c. 1860]single oil painting on canvas, depicting a large group of armoured guards and horsemen seated on dressed horses, ink inscription reading "sketch of Rewah... George ...[?]" to reverse in contemporary hand with paper label pasted to reverse of frame reading "Rewah Horsemen, pyrex panel mounted to the reverse of the frame to protect the canvas, 560 by 430 mm.; in an early twentieth-century gilt wooden frame, chipped and a little wornProvenance: Richard L. Feigen & Co. New York, before 2009: their label pasted to reverse.George Landseer (1829-1878) was a portrait and landscape painter, born into a renowned family of British artists including print-maker Thomas Landseer (father, 1793-1880) and Edwin Landseer (uncle, 1802-1873). He exhibited biblical and literary subjects at the Royal Academy and the British Institution before travelling to northern India to paint portraits and watercolour landscapes. The present subject is that of the horsemen of Rewah and was probably painted between 1850 and 1861, when other similar examples of his work from the region are recorded.Another example of George Landseer's work, completed in 1861, from the same region of Madhya Pradesh entitled "H.H the MAHARAJAH of INDORE" was sold in Christie's, 9 October 2012, lot 268.

SCOTTISH SCHOOL, PADDLE STEAMER ON A LOCH, watercolour, 15cm x 25cm, mounted, framed and under glass, along with another watercolour and an oil painting (3)

I SHELLEE BROWN, DOG TRAINING, watercolour, signed and dated '08, 37cm x 50cm framed, along with an oil painting of a lake scene (2)

"Up the Slad Valley" A framed watercolour by William James Neatby overall size 43cm x 38cm along with an oil painting of two game birds with indistinct signature

GEORGE WEATHERILL (1810-1890), a small 19th century parcel-gilt-framed and glazed watercolour study, harbour scene with boats beneath an atmospheric moon, signed lower left (9.5cm x 14.5cm)There is sight fading of the watercolour commensurate with age but nothing too drastic.  This is behind glass and there are one or two thunderflies around the mount but the painting itself appears in good general overall condition.  

*TANYA SHORT (1955), a framed and glazed watercolour study 'Two Mackerel' signed and dated lower left '94, (painting 32cm x 35cm), labels verso

*TANYA SHORT (1955), a framed and glazed watercolour study 'John Dory' signed and dated lower right '94, (painting 29.5cm x 31.5cm), labels verso

An Indian architectural minature painting, 19th century, watercolour on ivory, 5.5 x 6.8cm.

Three watercolour cartoons with famous painting subjects, signed, largest 20 x 29cm one with Chris Beetles Gallery label verso

A group of four 18th century and late miniature portraits, comprising a brass framed painting on ivory, possibly George I, initialled 'M.D.', 7.5 cm diameter, together with two portraits on porcelain, one in a ceramic frame, an early 20th century portrait of a beauty in profile (American) and afurther framed 19th century allegorical work, pencil and watercolour on paper, unsigned.Qty: 5

Chinese watercolour scroll painting, sage, 53cm x 29cm, framed

Adrian Ryan (1920-1988)/Normandy Landscape/signed lower right Ryan; dated upper left March 15 '64, further inscribed throughout with artist's colour notes/pencil and watercolour, 20cm x 25.5cm CONDITION REPORT: Condition appears very good however on closer inspection there is slight rippling to the paper toward the bottom. There could be a small hole or tear in the paper on the left of the two trees at the bottom - possibly from the time of painting, where the paper became wet with watercolour (see images). These issues do not detract from the overall appearance and it is glazed and nicely framed.ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.uk

John Beer (1883-1915)/Hurst Park Champion Hurdle Handicap/signed/watercolour, 26cm x 36.5cm CONDITION REPORT: Condition appears generally good. There is a small pressure bruise to the paper the left side (see image). The upper section has some water marks but this could be from the time of painting. The mount is slightly grubby and the frame has minor scuffs.

Balinese School, 20th Century/Fisherman Pulling in the Nets/signed indistinctly lower right/watercolour, paper size 37.5cm x 29cm/an Eastern portrait of a woman, and a modern acrylic painting of three Chinese girls, unframed [3]

Constance Penstone (South African 1865-1928) THE ROAD TO GEORGE signed, plaque on frame presents painting to Miss Volmer from the Child Life Protection Society, Wynberg; inscribed with the artist's name, title and studio address watercolour on paper 30,5 by 35,5cm

Eugène Delacroix (French, 1798-1863)Study of two Greeks stamped with initials 'E.D' (lower left)watercolour and bodycolour heightened with gum arabic and gold paint 13 x 12cm (5 1/8 x 4 3/4in).Executed circa 1823-1824Footnotes:The authenticity of this work has been confirmed by Brame and Lorenceau. It will be included in the forthcoming Catalogue Numérique of Eugène Delacroix, currently in preparation.ProvenancePrivate collection, Switzerland.The present lot was painted at a time when Delacroix, like many of his contemporaries, was fascinated by the plight of the Greeks, trying to liberate themselves from the grip of the Ottoman Empire. As Sébastien Allard & Côme Fabre note, the Greek War of Independence 'was on everyone's mind, and young people, following the example of the British poet-adventurer Lord Byron, were caught up in philhellenic enthusiasm'.The subject preoccupied much of Delacroix's work in the early 1820s - when the present lot was painted - culminating in his major Salon exhibit of 1824, Scenes from the Massacre at Chios, a vast painting which Delacroix had worked on for several years; having commenced the project - which depicts an atrocity of 1822, when Ottoman forces slaughtered and enslaved thousands of Greeks – in early 1823, Delacroix 'acted with a great deal of discernment in postponing the execution of his idea' until he was confident that 'though the official French position was still not decided, there was reason to hope that the country would side with the Greeks'1.The present lot closely relates to the work of Joseph Cartwright, who like Delacroix, was particularly interested in costumes from Greece and Asia Minor. Some of Cartwright's drawings were engraved by Robert Havell and published in 1822, in a book titled Selection of the Costume of Albania and Greece. Both figures in the present lot, were likely inspired by two plates published in this book. Delacroix also produced a watercolour, brush and brown ink study (with these two figures amongst others) which was included in an exhibition at Colnaghi's in 2003, the sheet was titled Study of Three Albanian Arnavuts and a Woman in Albanian Costume. The present lot makes an interesting comparison with A Greek and a Turk in an Interior, painted later in the 1820s (private collection, exhibited at the Delacroix exhibition, New York, 2018, cat. no. 35).1 Sébastien Allard & Côme Fabre, Delacroix, New York, 2018, pp. 15-17.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

Two demon musicians on a composite camel, led by a third demon Qajar Persia, signed by Sattar Tabrizi, second half of the 19th Centurypen and ink with use of some gold on paper, signed in nasta'liq script, laid down on an album page with coloured inner margins and outer borders with naturalistic floral motifs in watercolour drawing 139 x 188 mm.; album page 200 x 278 mm.Footnotes:ProvenanceFormerly in a private collection, France.The inscription reads: raqam-e sattar naqqash-e tabrizi, 'Drawn by Sattar, the Tabrizi Painter'.The artist's biography is not recorded. Karimzadeh lists him and gives a reference to this painting, describing him as a painter of the Nasir al-Din Shah period. See Karimzadeh Tabrizi, The Lives & Art of Old Painters of Iran, vol. 1, London 1985, p. 217.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A Qajar lacquer penbox (qalamdan) depicting the Madonna and Child after Sassoferrato, by Abbas Shirazi Persia, dated AH 1278/AD 1861-62with rounded ends and sliding tray, decorated in polychrome and gilt with a cartouche containing Madonna and Child flanked by portrait medallions containing a date and signature, the sides with nudes flanked by portrait medallions, further cartouches with floral sprays, the base and sides of the inner tray with scrolling vines 22.3 cm. long. Footnotes:ProvenancePrivate UK collection.Inscriptions: kamtarin 'abbas shirazi, 'The most humble 'Abbas Shirazi', 'the year 1278 (AD 1861-2)'.The depiction of the Madonna and Child is after a composition by the 17th Century Italian painter, Giovanni Battista Salvi, il Sassoferrato, of which a number of versions exist, one in the St. Louis Art Museum, USA.Nothing is known about 'Abbas's life, other than his recorded work and that he was a painter of portraits, flowers and illuminations. His recorded works include lacquered pen boxes and a watercolour painting dated between 1277 (AD 1860-1) and 1292 (AD 1875-6). (See M. A. Karimzadeh Tabrizi, The Lives & Art of Old Painters of Iran, vol. 1, London, 1985, pp. 293-5 and Khalili, Robinson and Stanley, Lacquer of the Islamic Lands, Part Two, 1997, cat. nos. 343-8, and p. 262, nos. 343-8 for examples of his different signatures.Important Notice to BuyersSome countries e.g., the US, prohibit or restrict the purchase by its citizens (wherever located) and/or the import of certain types of Iranian-origin works. As a convenience to buyers, Bonhams has marked with the symbol R all lots of Iranian (Persian) origin. It is each buyer's responsibility to ensure that they do not bid or import a lot in contravention of the sanctions or trade embargoes that apply to them.This lot is subject to the following lot symbols: RR This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com

A rare and large panoramic watercolour view of the Golden Temple and the city of Amritsar, 19th Century attributed to Cyril Wiseman Herbert (British, 1847-1882)watercolour on paper, signed C. Herbert and inscribed Ghrant Temple/Sacred Tank/Umritsar lower left 58.5 x 100 cm.Footnotes:ProvenanceFormerly in a private Scottish collection.Cyril Wiseman Herbert was the son of another Royal Academician, John Rogers Herbert. He exhibited five works at the RA between 1870 and 1875, painting mostly landscapes, often of Italy, which he visited in 1868.We have good reason to suppose that this painting is the largest depiction of the Golden Temple in watercolour to have come on the market. To the right of the view is the Jhanda Bunga, named after the two tall standards (jhandas) seen here, which were re-erected in 1841. On the left are the two minarets of the residence of Jassa Singh Ramgarhia, a Sikh leader of the 18th Century.The second Guru, Angad Dev, discovered the site in the 16th Century, when it was simply a stretch of water in the midst of forest. His successor, Amar Das, built a hut beside it for contemplation. Ram Das, the fourth Guru, bought the pool and the land around it. But it was the fifth Guru, Arjun Dev (1581-1606), who cemented its importance as a place of pilgrimage but also as a focus for the permanence of the religion. The foundation stone of the Harmandir (the Golden Temple) was laid in 1588, and the formalising of the pool had been completed in 1577. The Harmandir was destroyed three times between 1757 and 1764 when Northern India was under Mughal control, but thereafter the area was protected and during the height of Sikh power under Maharajah Ranjit Singh the Harmandir was embellished and expanded.For a survey of the history of the Harmandir, see Patwant Singh, 'The Golden Temple', in S. Stronge (ed.), The Arts of the Sikh Kingdoms, London 1999, pp. 46-59. Singh's account ends:'To stand on the terrace outside the Shish Mahal, surrounded by the golden domes and kiosks, is to revel in the glory of this joyous tribute to the Gurus. If their vision, faith and sacrifices has inspired their disciples to feats of valour, then here was the grateful offering of the disciples to the source of their inspiration. As the golden silhouettes of these domes and kiosks emerge in the early morning light and glow throughout the day in the intensity of the Panjab sun, before changing colour in the fading light at dusk, they are an unforgettable sight for the thousands who come daily to worship at the Darbar Sahib. When they step into the waters of the holy pool, and see the Harmandir's shimmering reflection, Sikhs feel as if they have been touched by the sacred'.For further information on this lot please visit Bonhams.com

A study of a bird perched on the branch of a flowering plant Company School, Calcutta, late 18th/early 19th Centurywatercolour with gum arabic and some bodycolour on watermarked paper, a fragment of an original inscription from a painting from the Impey album taped to the backboard and acquired with the painting (text below) 500 x 475 mm.Footnotes:ProvenanceAcquired by Lady Hogg from an unknown London gallery in 1940-41, which was by repute destroyed on the day following its purchase.Lady (Pollie Victoria) Hogg, maternal grandmother of the current owner, until 2003.Min Hogg, her daughter (1938-2019), founding editor of the magazine World of Interiors from 1981 to 2001.Thence by descent to her nephew.A painting from the Impey album, from the same collection as the present lot, was sold in these rooms, Bonhams, Islamic and Indian Art, 11th June 2020, lot 170.The inscription which comes with the painting is clearly in the same hand as the famous inscriptions on the Impey paintings, and was presumably excised from a now perhaps lost work by Shaykh Zayn al-Din. It reads:derakh-e achramgoraIn the Collection of Lady Impey at CalcuttaPainted by Zayn al-Din [in Persian] Native of Patna 1779Derakh means 'tree', ach, 'large', and ramgora, a Javanese species of bird well known in India. In Bengal, Ramgora is the Java Sparrow.For further information on this lot please visit Bonhams.com

A grey horse of the Madras Light Cavalry standing in a landscape with its groom, with the fort of Trichinopoly, Madras in the distance Calcutta, studio of Shaykh Muhammad Amir of Karraya, circa 1837-40watercolour on paper 240 x 340 mm.Footnotes:The insignia on the saddle, VIII LC, refers to the 8th (Madras) Light Cavalry, a unit raised in 1804 and added to a formation founded in the mid-18th Century. Unusually for works by Shaykh Muhammad Amir of Karraya, the scene pictured is outside Calcutta. The reason for this may be the transfer of Madras cavalry units to the Bengal military establishment, which is known to have taken place in 1837. This painting therefore seems to adapt the more civilian-oriented Calcutta-based depictions of horses and grooms produced by the artist, in order to mark the arrival of a Madras unit, with a reminder of their origin in the landscape background.For further information on this lot please visit Bonhams.com

FRED YATES (BRITISH 1922-2008) 'GENEVA' a townscape of the town of Geneva in Switzerland, signed in paint and ball point pen, watercolour on paper, mounted with hand painted green stripe, hand painted glazed frame, size of visible image approximately 55cm x 74cm, frame size approximately 85cm x 104cm (condition:- painting and frame are in good condition) (A)

PAINTING AND PRINTS, to include A Veal, 'Sailing Boats on a Lake', signed and dated 1976, watercolour, framed, James D Preston limited edition landscape prints, David Shepherd print of Puppies, Linda Jane Smith prints of cats, William Geldart cat print, signed Robert Calvert print etc (12)

Two watercolours, Helen M Jackson, Tools of the Trade, Troutbeck, signed, and attributed verso, 32 x 23cm, framed and glazed, and Garden Wall, Kentmere, signed 27 x 40cm, framed and glazed, a watercolour, Kenneth Bate, Tractor, Now Retired, Kentmere, 25 x 35cm, framed and glazed, and an oil painting, J L Wood, Torr Steps Devon, signed, 38 x 50cm, framed and glazed

John Knapp-Fisher (British 1931-2015), Cyclists on the Harbour Wall 1982, limited edition print, hand signed bottom right, numbered 90 x 500 cm, mounted and framed. Measurements 16.3 x 47 cm, frame 38 x 66 cm John Knapp-Fisher (1931-2015) was a British post-war artist who is heavily associated with Pembrokeshire. He began his career in Graphic and exhibition design before becoming a full time artist in 1960. He is best known for his dark, dramatic watercolour paintings and his muted colour palette, often opting for earthy colours with simple dabs of primary as they emerge from the dark wash. Knapp-Fisher favoured subjects such as trees, bogs, hedgerows and the undergrowth over flowers, and was a fervent believer in painting en plein, often seeking his inspiration in his beloved Pembrokeshire. Although he did paint in oil, the majority of his work was created in his preferred medium of watercolour, and he is known for his characteristic letter-box shape paintings. He had a life-long love for the sea, building and sailing his own boats, even spending some years living upon one of his crafts, with seascapes and paintings of his daily catch becoming regular features within his artwork. Knapp-Fisher was elected to the Royal Cambrian Academy in 1992 and has a strong following particularly across the UK and South Africa.

John Knapp-Fisher (British 1931-2015), Buildings and Water at Conwy, limited edition print, hand signed bottom right, numbered 146/850, mounted and framed. Measurements .4 x 31 cm, frame 57.5 x 51.5 cm John Knapp-Fisher (1931-2015) was a British post-war artist who is heavily associated with Pembrokeshire. He began his career in Graphic and exhibition design before becoming a full time artist in 1960. He is best known for his dark, dramatic watercolour paintings and his muted colour palette, often opting for earthy colours with simple dabs of primary as they emerge from the dark wash. Knapp-Fisher favoured subjects such as trees, bogs, hedgerows and the undergrowth over flowers, and was a fervent believer in painting en plein, often seeking his inspiration in his beloved Pembrokeshire. Although he did paint in oil, the majority of his work was created in his preferred medium of watercolour, and he is known for his characteristic letter-box shape paintings. He had a life-long love for the sea, building and sailing his own boats, even spending some years living upon one of his crafts, with seascapes and paintings of his daily catch becoming regular features within his artwork. Knapp-Fisher was elected to the Royal Cambrian Academy in 1992 and has a strong following particularly across the UK and South Africa.

Charles Harrington (1865-1943) 'Sussex landscape looking towards the coast' signed watercolour, 35.5cm x 51.5cm, in a gilt frame 61cm x 76cm, painting in good condition with some knocks to frame

Claude Hayes (1852-1922), 'Landscape with figures in a horse drawn cart, signed watercolour, labels to backboard, 11.5cm x 16cm, gilt frame size 33cm x 36cm, painting good with some wear to frame

A watercolour entitled Slough Rd Eton, signed R W Fraser 05 in a gilt frame, 60cm x 49cm, painting in good condition, some fly under glass and small knocks to frame.

NO RESERVE British Art.- Naughton (Gabriel) David Roberts: Travels in the Holy Land. Watercolours from a Private Collection, 2013 § Wilcox (Scott) & others. Sun, Wind, and Rain: The Art of David Cox, New Haven, 2008 § Evans (Mark) John Constable: The Making of a Master, 2014 § Fowler (R., editor) Edward Lear: The Cretan Journal, Athens & Dedham, 1984 § Herrmann (Luke) British Landscape Painting of the Eighteenth Century, New York, 1974 § Oppé (A.P.) The Drawings of :Paul and Thomas Sandby...at Windsor Castle, Oxford & London, 1947, illustrations, many colour, original cloth or boards, the first with slip-case, the rest dust-jackets, the last rubbed; and c.45 others on British landscape and watercolour painting, v.s. (c.50)

A Chinese watercolour painting on silk mounted on paper of a lotus pond. With inscription and two red seal marks. 50cm x 33cm  

A gilt framed antique watercolour still life with vase of flowers on a table - bearing remains of label verso stating the painting was a gift from the Hon. Elizabeth Chester to her daughter Fanny Paget and other descendants

Michael Latouche: a framed painting on board, entitled Scorhill Stone Circle, Dartmoor - signed - sold with a framed watercolour, depicting a lakeland mountain landscape

HENRY JOHN VEEND KING RI, ROI (BRITISH 1855-1924); watercolour, 'Bluebells', small forest meadow scene, signed lower left, 7.5 x 13.4cm, with gilt mount and moulded frame, glazed.Additional InformationThe frame with chips and losses, painting is in good condition with perhaps some slight fading in colour to the upper right, some marks to the mount.

      ARTHUR NICHOLLS (BRITISH, LATE 19TH/EARLY 20TH CENTURY); watercolour, still life of fruit, signed lower right, 24 x 17cm, framed and glazed, with receipt of purchase for £300 in 1998 from Saltaire Antiques Centre; this painting was featured on BBC Antique Hunt, the precursor to Bargain Hunt. Additional InformationImage in good condition, frame worn with some chips to gilt.

KATHLEEN STOCKTON; watercolour, 'Dreamland', signed and dated 83 and inscribed on Pitcairn Galleries of Knutsford label verso, 21.5 x 33cm, another watercolour by the same hand 'Dancing Trees', signed and dated 85, 19.5 x 25cm,  a watercolour depicting Hasmonden in Kent and a amateur oil painting (4).Additional InformationThree watercolours are framed, they have signs of insect infestation into the mounts but colours ok. The Kent image has some foxing and staining, the oil painting is of poor quality and not in A1 condition

ALFRED LAYMAN; watercolour, 'Clovelly Main Street and Steps', signed lower left, framed and glazed, 71.5 x 48cm.Additional InformationFoxing throughout the painting, especially around the top area, chipping to the gilt frame.

2 Walt Howarth "The Beatles Playing" prints and an original watercolour painting.

SMALL PAINTING ON CARD OF FIGURES BY A GATE, WAX PANEL OF A GERMAN OFFICER ON HORSEBACK AND A SMALL WATERCOLOUR OF BROSWORTH HALL

A Bellinda Harding, 20th century school, landscape, watercolour along with other unsigned painting. Measures; 59cm x 73cm

*John Piper CH (1903-1992) Still Life with a Gargoyle, circa 1981 signed upside down u.l., titled verso, pen and ink, watercolour and gouache 56 x 78.5cm Provenance: Sir David Tang, Hong Kong The dark colours and bold juxtaposition of foreground subjects can be found in several works executed in the early 1980s - a period when Piper experimented with new compositions, drawing from his existing painting and work in other media, such as photography and ceramics. The sculpted head relates to similar female forms found notably in 'Girl’s head with flowers' (1981) and 'A Window at North Moreton' (1982), which both introduce a woman’s face into the artist’s more familiar subject matter. Similar dog-like gargoyles appear in one of Piper’s photographs now held at the Tate Gallery, (ref: TGA 8728/1/21/115), while the background figures are drawn from a large screenprint, 'Eye and Camera: Blue to Ochre' (c.1977), also at the Tate. For further details and illustration of related work in this period, see D F Jenkins and H Fowler-Wright, 'The Art of John Piper' (Unicorn/Portland Gallery: 2016, pp.397-400). *Artist's Resale Right may apply to this lot.

HUGO DAGGER (20th CENTURY), a three masted tall ship under full sail off a headland, yachts to the distance, signed in pencil bottom left, watercolour on paper mounted, framed and glazed, image size 44cm x 65cm, condition: painting is in good condition small stain to bottom of mount

PAINTINGS AND PRINTS, to include an abstract study of a tree by Phyllida Scott watercolour/Gouache on paper with still life flower study by the same hand, abstract oils on canvas from Rachel Jack, Terence Cuneo prints 'Night King' Bently v blue train and express engines at Tyseley, David Shepherd print 'Slave Island Aden', indistinctly signed still life oil on canvas of flowers, Malcolm Doughty oil on canvas of an Alsatian Dog together with assorted painting and prints, largest 74cm x 95cm including frame

A Moghul style painting, Hunting Scene, pen and ink highlighted with gilding and watercolour on paper (33cm x 23cm excluding frame)