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John Thorley (19th Century) - A late 19th / early 20th Century watercolour painting on paper landscape painting depicting a Tudor house in front of a stream. Signed to the corner. Framed and glazed. 

A Chinese watercolour painting on paper in scroll with wooden handles of a mountain scene with one red seal mark singed by artist. Painting 41cm 67cm

A large Chinese watercolour painting on paper in scroll of carp fish with three red seal marks and inscription signed by artist. Painting size 66cm x 135cm

A Chinese watercolour and ink painting on paper in scroll with wooden handles of a mountain scene with three red seal marks and inscription signed by artist. 45Cm x 45cm

A watercolour painting on paper in scroll of three Sages signed top right with inscription and red seal mark. 177cm x 49cm total scroll size.

CHARLES MACIVER GRIERSON (BRITISH 1864-1939), J'Acuse, Mother Superior interviewing a young nun/novice about her locket containing a miniature of a young military man in front of a group of other nuns and novices, watercolour, signed and dated 1920 lower right, verso bears printed history of provenance of painting from 1923-2014, approximately 54cm x 74.5cm, framed and glazed (condition: some foxing and small amounts of thunderbugs (thrips) under the glass)

An unframed watercolour painting initialed R.A.

Original vintage advertising poster for an exhibition of landscapes loaned from the Fitzwilliam Museum, Cambridge, held at the art dealers Hazlitt, Gooden & Fox at 38 Bury Street, London. The painting featured, "The Magic Apple Tree" c.1830, is a famous work by British artist Samuel Palmer (1805-1881). This watercolour belongs to Palmer’s so-called ‘Visionary’ period, c.1826-32, when he was painting some of his most intense and original landscapes inspired by the landscape of Shoreham in Kent. Six wooly sheep rest against a background of a densley laden apple tree, thickly wooded hills and golden fields of ripe corn. Condition: Good condition, creasing.. Country of printing: UK, designer: Samuel Palmer, size (cm): 76x51, year of printing: 1974.

A 20th century Chinese watercolour painting of pakchoi, 32 x 42.5cm Condition: Some scattered dirt specks and very slight crease marks running through the middle of the work, otherwise good order.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) UNTITLED OG.4422 - 2013Signed and dated 2013, watercolour (Dimensions: 20cm x 28cm (8in x 11in))Provenance : Gimpel Fils , London Note: Biography: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ ALASDAIR GRAY (SCOTTISH 1934-2019) THE BEAST IN THE PIT - 1952Signed and dated '20.11.52' and inscribed 'I want, I want, let me out, let me out,' ink and watercolour (Dimensions: 76cm x 51.5cm (30in x 20.25in))Literature: Illustrated in A Life in Pictures, p.32 Provenance : A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ GORDON MITCHELL R.S.W., R.S.A., R.G.I. (SCOTTISH B.1952) SIX GO TO MALLORYSigned and dated '84, oil on canvas (Dimensions: 80cm x 97.5cm (31.5in x 38.5in))Biography: Gordon Mitchell was born in 1952 and studied at the Edinburgh College of Art. He had a successful career teaching art but left in 1989 to devote all of his time to painting. Self-described as an 'abstract expressionist', Mitchell finds inspiration in current events and visual puns. His work is often also considered surrealist, due to its otherworldly, almost unsettling qualities, although Mitchell rejects this label. While sculpture remains one of his interests, he finds painting to be a more immediate form of expression. Over the years, he has won numerous awards including the Sir William Gillies Award from the RSW and the John Murray Thompson Award from the RSA. He has held solo exhibitions across the UK. Mitchell is an elected Member of the Royal Society of Painters in Watercolour (1997), the Royal Glasgow Institute (1998) and the Royal Scottish Academy (2005).

§ GLEN SCOULLER R.S.W., R.G.I. (SCOTTISH B.1950) PROMENADE L'APRES-MIDI, LA GAUDESigned, oil on canvas (Dimensions: 91cm x 102cm (36in x 40in))Biography: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997. Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.

§ DAVID MCLEOD MARTIN R.S.W., R.G.I., S.S.A (SCOTTISH B.1922) THE OIL LAMPSigned, oil on canvas (Dimensions: 76cm x 76cm (30in x 30in))Biography: David McLeod Martin is a Scottish artist, best known for his contemporary paintings of Scottish landscapes and still life work, in both oil and watercolour. Martin was born in Glasgow in 1922 and studied at Glasgow School of Art from 1940-42. He left to serve with the RAF in India from 1942-46, but promptly returned to the GSA, where he studied under David Donaldson and met his future wife, the painter Isobel Smith. After graduating from Glasgow School of Art in 1948 he pursued a career in teaching. In 1959, Martin was elected a member of the Royal Glasgow Institute of Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1961. He is also an elected member of the Royal Glasgow Institute of Fine Arts. Martin was Principle teacher of Art at Hamilton Grammar School from 1973 until his retirement in 1983. Since his retirement he has concentrated full time on his painting. Martin's work is held in many major Scottish collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, and Perth Museum and Art Gallery, which held a major retrospective of his work in 1999.

§ JENNY MATTHEWS (SCOTTISH B.1964) PURPLE IRIS - 1999Signed and dated '99 in pencil, watercolour and collage (Dimensions: 52.5cm x 24cm (20.75in x 9.5in))Biography: Jenny Matthews was born in 1964 and grew up in Edinburgh. She studied at Edinburgh College of Art under Elizabeth Blackadder, John Houston and Ann Oram, graduating in 1986 with a degree in Drawing and Painting. Over the last 17 years her work has been exhibited extensively in the UK and abroad. She has also exhibited at the Royal Scottish Academy, and the Royal Scottish Society of Painters in Watercolour. Her watercolours are held by important Scottish collections, such as Adam and Co plc, Brodies WS, Hewlett Packard, Ian Rankin and Miranda Harvey, Institute of Chartered Accountants of Scotland, Murrayfield Hospital, Paintings in Hospitals and Walter Scott and Partners, as well as in private collections worldwide. Jenny has lived in France and Indonesia and is now based in Edinburgh, where she is still creating and teaches drawing and watercolour painting.

JOHN WALTER WOLSELEY (AUSTRALIAN B.1938) UNTITLED C.1965Etching and aquatint (Dimensions: 29cm x 39.5cm (11.5in x 15.5in))Provenance: The vendor was a friend of the artist, and acquired it directly. Biography: John Wolseley is a painter, printmaker and installation artist, whose work is inspired by the natural splendour of Australia. Wolseley was born in Somerset, England and studied at St Martins School of Art for a year in 1957, before attending the Byam Shaw School of Art, London, in printmaking from 1958-63 and later in Paris between 1961-63. In 1976, he travelled to Australia where he travelled extensively through the outback, and ultimately settled. He has made countless journeys around Australia trying to understand 'how the geology contributes to the spirit of the place'. This question, along with the Australian terrain and native flora and fauna, continues to inspire Wolseley and his art. In 1991, he received an Australia Council Fellowship which enabled him to spend eight months in the Simpson Desert, acting as a cartographer of sand dune- an experience which also had a great impact on his artwork. He has been the artist in residence at Deakin University, Bendigo, the Joye Art Foundation, the Art Gallery of Western Australia and George Cottage Launceston and has taught painting in Northern Territory Communities since 1978. Wolseley has also been involved in both solo and group exhibitions across Australia. He has won many awards for his work, including the Geelong Gallery Capital Permanent Acquisition Award, the Art Gallery of New South Wales Trustees watercolour prize, and the Alice Prize. He received a bicentennial commission from the Art Gallery of New South Wales in 1988, the Australia Council Grant in 1998 and an Honorary PhD in Science from Macquarie University in 2005. His work can be found in public and private Australian collections, as well as in collections in England and Yugoslavia.

§ ALASDAIR GRAY (SCOTTISH 1934-2019) PORTRAIT OF KATEYWith a personal inscription verso, ink and watercolour (Dimensions: 51cm x 63.5cm (20in x 25in))Provenance: A Private Collection, Glasgow Biography: Alasdair Gray was a Scottish writer and artist, described by The Guardian as ‘the father figure of the renaissance in Scottish literature and art which began in the penultimate decade of the 20 th century.’ Born in Glasgow in 1934, Gray studied Design and Mural Painting at Glasgow School of Art from 1952-57. In art school, he was given the prompt to create a picture with the subject of ‘washing day with minimum of three figures.’ Initially uninspired by this generic topic, he found his muse in a Glasgow lane shaded by tenement buildings. A courtyard with a high hanging washing line and a half-withered hawthorn tree were to be the foundation for The Beast in the Pit (LOT 55) . The objects in the drawing- the three figures, three cats, three washing tubs, three close entries- are designed to draw the eye around the nearly symmetrical view. The main lines give an illusion of a traditional perspective but, in actuality, the work has 2 or 3 vanishing points, and the figures cast no shadow. At the GSA, Gray was said to have ‘immediately impressed both his teacher and fellow students with fantastic, even visionary, projects’ ( The Guardian ), and The Beast in the Pit was at the forefront of this. While he eventually achieved recognition for his artistic talents, Gray’s best-known work is his first novel Lanark , published in 1981, which was written over a period of almost 30 years. Now a classic, Lanark has been described as ‘one of the landmarks of 20th-century fiction,’ inspiring the next generation of Scottish authors. Gray also wrote on politics, in support of socialism and Scottish independence, and this theme is similarly reflected in his artwork. While his written works combine elements of realism, fantasy and science fiction, he blended them with a clever use of typography and his own illustrations. In past interviews, Gray described writing as draining, while painting was ‘an invigorating physical activity that gave him energy’ (p.129, Rodge Glass). Using his recognisable style of strong lines and high-impact graphics, he self-illustrated his books and poems. From the Soul’s Proper Loneliness (LOT 59), for example, is one of five prints which both lavishly illustrate and give depth to the text of Gray's poems. This lot is the original version from 1955, while there is a later collage version from 1965 and a coloured version from 2007. Gray’s The Faust Legend (LOT 57) is another work that showcases his witty and bold graphic style. The scene is a chaotic one, which finds its origins in the original painting by Rembrandt, c. 1652, of the same name. In Rembrandt’s work, a scholar is transfixed by an orb of light that holds a secret code. In Gray’s version, all the knowledge of life swirls around this incredibly detailed work, intertwining symbols of death, love and the human experience. Gray has said that the figure of Faust ‘is an idealised version of me, busily introspecting’- (p.70, A Life in Pictures ) . As the original tracing cloth has been lost, only a few dyeline prints and photocopies of this work exist. However, as The Guardian proclaimed, ‘A peculiarity of Gray’s graphic work is that it sometimes appears at its best in reproduction.’ From 1977-78, Gray worked as Glasgow’s official artist recorder, painting portraits and streetscapes for the People’s Palace Local History Museum. He was constantly inspired by the people and places of Glasgow and often drew his friends and their families, like Portrait of Katey (LOT 56). Gray also undertook several mural commissions across the city, including a 40ft mural for the entrance hall of Hillhead subway station in the West end of Glasgow and the mural decoration of Oran Mor, an arts centre on Glasgow’s Byres Road. As Glasgow had a lasting impression on Gray and his artwork, so too did he on Glasgow. Gray is remembered by those who knew him, as well as those who did not, for his ‘benignly nutty professor’ persona, with ‘thick spectacles and haywire hair.’ Over the course of his life, his work has been widely exhibited across Scotland and is currently held by several important international collections.

§ WILLIAM LITTLEJOHN R.S.A., R.S.W., R.G.I. (SCOTTISH 1929-2006) FISH AND PLUM - 1993Signed and dated, watercolour on handmade paper (Dimensions: 39cm x 60.5cm (15.25in x 23.75in))Biography: William Littlejohn was born in Arbroath, Scotland in 1929 and began his artistic training at the Gray’s School of Art in Aberdeen from 1946-50. Although he explored different approaches to painting, Littlejohn favoured watercolours and collage-based media, often incorporating images of his native Angus and Aberdeenshire into his work. He held his first solo exhibition in 1963 but had already been exhibiting at the Royal Scottish Academy since 1951. He was elected member of the RSA in 1973, and often exhibited with the Royal Society of Painters in Watercolour. Littlejohn taught at his former high school in Arbroath and subsequently at Gray’s School of Art, later becoming Head of Fine Art until his retirement in 1991. He continued to paint late into life and began to experiment with silver and gold leaf in his later works. In 2006, Littlejohn gifted the contents of his studio, including 300 watercolours, oils, drawings, and studio objects, to the Royal Scottish Academy. That same year, the RSA held an exhibition in his honour. His work is held in important collections throughout Britain, including the private collections of Queen Elizabeth II and the Duke of Edinburgh.

§ ALAN DAVIE C.B.E. R.A. H.R.S.A. (BRITISH 1920-2014) POET CREATING AN EGG, 9293 - JULY '64Signed, dated and inscribed, watercolour (Dimensions: 55cm x 75cm (21.75in x 29.5in))Provenance : Gimpel Fils , London Note: Painting is a continuous process which has no beginning or end. There never really is a point in time when painting is NOT. This sentiment remained Alan Davie’s guiding principle across an artistic career spanning over 70 years. Difficult to pin-down as an artist, he worked across disciplines throughout his life: as well as exhibiting his visual art internationally, he also designed and made jewellery, wrote poetry and performed music, particularly the saxophone, but also the cello and piano. He felt that these interests and outputs supported and evolved across each other, rather than existing as distinct entities. Davie grew up in an artistically-inclined family, so it was already expected that he would enter the Edinburgh College of Art at 17. He quickly earned his diploma and left with a travelling scholarship. Unfortunately, war time intervened and so he enlisted rather than heading off in search of artistic inspiration on the Continent. Military duties didn’t leave much time for painting, so this was a period where he explored the poetic word instead. He returned to Edinburgh following his service, and finally headed off on his travels, together with his new wife, the artist potter, Janet Gaul. They travelled to Italy, where a combination of visual experiences provided a great source of inspiration that set the course for the rest of his artistic life. Firstly his eyes were opened by the grace and simplicity of fourteenth- and fifteenth-century Italian art, and then he was introduced to Peggy Guggenheim, who took him around her Venetian palazzo, and presented American Modernism to him, particularly Jackson Pollock, who had not yet moved into his drip paintings, but was working in a gestural manner, with a deep affinity to Surrealism. Davie returned to London, full of inspiration and ready to make his work. He had his visual ides from Italy and an understanding of role of the artist from Paul Klee, ‘he neither serves nor rules – he transmits.’ This was the starting point of the artistic and creative vision that we know from Davie’s work, but he continued to find inspiration in sources across space and time. He had a specific interest in the unconscious and ancient civilisations, seeking to paint without thought and consideration and to utilise symbols that had recurred across time periods and distance – in a method similar to that of improvisation in jazz music. Yet, as so concisely put in the artist’s obituary, published in the Guardian , ‘the miracle was that out of an eclectic art that was part Celtic, part tribal Hopi, part Hindu or Jain or Tibetan Buddhist, part African and part pre-Columbian, with a hint of William Blake, there came painting of power and individuality.’ Despite such wide-ranging influences and inspirations, Davie’s art is always unmistakeably his.

§ GORDON MITCHELL R.S.W., R.S.A., R.G.I. (SCOTTISH B.1952) CYCLES OF THE MOONSigned and dated '90, titled verso, oil on canvas (Dimensions: 81cm x 102cm (32in x 40.25in))Provenance: Purchased directly from the artist. Biography: Gordon Mitchell was born in 1952 and studied at the Edinburgh College of Art. He had a successful career teaching art but left in 1989 to devote all of his time to painting. Self-described as an 'abstract expressionist', Mitchell finds inspiration in current events and visual puns. His work is often also considered surrealist, due to its otherworldly, almost unsettling qualities, although Mitchell rejects this label. While sculpture remains one of his interests, he finds painting to be a more immediate form of expression. Over the years, he has won numerous awards including the Sir William Gillies Award from the RSW and the John Murray Thompson Award from the RSA. He has held solo exhibitions across the UK. Mitchell is an elected Member of the Royal Society of Painters in Watercolour (1997), the Royal Glasgow Institute (1998) and the Royal Scottish Academy (2005).

§ ALEXANDER GOUDIE (SCOTTISH 1933-2004) BRITTANY VIEWSigned, watercolour (Dimensions: 62cm x 87cm (24.5in x 34.25in))Biography Alexander Goudie (1933-2004), was one of Scotland's foremost contemporary artists. He was born in Paisley in Renfrewshire. He studied at the Glasgow School of Art, where he received the Newbery medal. On a trip to France, he visited Brittany, where he met Marie-Renée Dorval. They married in 1962 and her education in art and Breton culture helped establish him as a leading 'Breton' artist and Brittany became one of his main sources of inspiration. He exhibited widely in Brittany and in 1966 for the first time he exhibited his Breton paintings in Edinburgh. In 1987, he was commissioned to design the interiors and artworks for the ship ‘Bretagne,’ flagship of the Brittany Ferries Company. His work brought together landscapes, small scenes & still lives. The tables of the first class dining room were divided by paintings of food hanging at right angles. The originality of the scheme and the large number of works on display was received with great acclaim at the time. He liked to see, and attempt, mastery in painting but in a more conventional way; remaining uninspired by 20th century artistic movements, such as cubism or futurism. He has been described as 'an old-fashioned painter,' and for a man who felt that his job as an artist was 'to simply to tell a story in pictures and to speak with a clear voice,' presumably this was a compliment. But for the artistic establishment at this time, that would be far from a positive affirmation of his approach, entirely aside from their thoughts on his technical abilities. As Sir Timothy Clifford, former Director-General of the National Galleries of Scotland eulogised, Goudie 'had the skill and eye to describe, as almost no one else could, the sweating flanks of a cart-horse, the toiling, foreshortened form of a Breton peasant, the sheen on silk velvet, or the glow on a pretty girl's cheek.'

Jonathan Taylor (20th century British) - A framed and glazed watercolour on paper painting entitled 'The Yellow Windbreak' at Rhossili Beach. Signed by the artist in pencil to the bottom left. Measures 33cm long by 40cm wide.   

Ann Barnitt (20th Century)  - 'Apples and Lemons' - A 20th Century watercolour on paper still life painting in green and blue hues. Signed with initials to the right corner. Framed. Measures 30cm tall by 41cm wide.  

A framed watercolour and ink painting depicting flowers and insects, signed to the left, approximately 30 cm x 25 cm.

A framed watercolour and ink painting depicting flowers and insects, signed to the left, approximately 30 cm x 25 cm.

A 19th century Victorian watercolour painting in oval mount dated for 1879 showing a European Alps scene of people by lake with mountains to the background. Signed to corner, framed and glazed. Measures 48 cm x 55 cm.

F. Hobbs - A vintage 20th Century watercolour painting of RMS Queen Mary at Southampton dock. Signed to the bottom right by the Artist. Framed and glazed. Measures 35cm tall by 30cm wide. 

Military interest - a WWII Second World War pair of watercolour paintings depicting WWII Spitfires and a Lancaster Bomber being prepared in a field. Framed and glazed. Along with a First World War interest unframed oil on canvas painting of Battleships in high seas. Interesting paintings.

A 19th Century Victorian watercolour on paper painting of the steamship 'Liguria' of the Orient Line at full sail with passengers aboard. Framed and glazed. Measures 49 cm tall x 27 cm wide. 

A good late 19th / early 20th Century Venetian watercolour painting depicting ships / boats and gondolas to the for ground with the Cathedral of Santa maria Venice. Unsigned. Framed and glazed. Frame measures 51cm tall by 66cm wide.  

Sir William Russell Flint (British 1880-1969) - a limited edition print after a watercolour painting depicting two female figures, one reclining whilst the other reads from a book. Number 696/850 in pencil to the corner and gallery stamp to the other. Framed. Measures 43 cm  x  58 cm.

Sir William Russell Flint (British 1880-1969) - a limited edition print after a watercolour painting depicting a reclining female figure with blue laced shoes. Limited edition no. 800/850 with raised gallery stamp to the corner. Framed. Measures 41 cm  x  58 cm.

A framed watercolour and ink painting depicting flowers and insects, signed to the left, approximately 30 cm x 25 cm.

A framed watercolour and ink painting depicting flowers and insects, signed to the left, approximately 30 cm x 25 cm.

An ink and watercolour painting depicting two ladies in a landscape setting, signed to the left. Approximately 24.5 cm x 30 cm image size

An ink and watercolour painting depicting two ladies and foliate decoration, signed to the left. Approximately 24.5 cm x 30 cm image size

Byron.- Romanticism.- Sanders (George, 1774-1846), After. Portrait Of George Gordon Noel, 6th Baron Byron, Lord Byron, point of the brush, watercolour on thin card, oval, approx. 160 x 110 mm. (6 1/4 x 4 1/4 in), presented in ornate frame, [circa 1810 or slightly later]⁂ Fine portrait miniature derived from Sanders's oil painting of Lord Byron held in the Royal Collection [RCIN 402411]

BRUCE PEARSON "Painting Birds" R.S.P.B. Calendar for 1994 "Peregrine Studies". Watercolour, signed, 35.5cm x 48cm, in double mount and green and gilt glazed frame

MABEL LUCIE ATTWELL "The 152 Train", Watercolour painting, signed, gilt frame, mounted and glazed, 33cm x 29cm, bears "Christies" Auction label (sale 29th June 2005, sale No. 5595)

The Estate of Peter Wyngarde; a 20th century Japanese oriental watercolour painting on silk, depicting a mountain and forest scene. Signed to corner. Framed. Total size approx; 65cm x 31cm. 

A. B. Scuttian - (Swedish) - a 20th century abstract mixed media painting, loosely in the form of a human face. Various earthen colours, in oil and watercolour. Signed to corner. Framed. Total size approx; 54cm x 44cm. From the estate of Peter Wyngarde

Beverley Gilvanov - 1972 - a 1970's pencil and watercolour abstract sketch / painting of a pregnant nude female. Signed to upper corner, and dated 1972. Framed. Total size approx; 53cm x 41cm. From the estate of Peter Wyngarde.

Estate of Peter Wyngarde; an antique late 19th / early 20th century oriental watercolour painting on paper of a traditional Chinese Geisha, in period dress. Character mark signature to corner. Framed and glazed, with an original Tai Loong framers label to reverse. Total size approx; 31cm x 41cm. 

MORGAN MICHELE: (1920-2016) French film Actress. Signed 11 x 15 abstract watercolour by Morgan on a Canson drawing paper. Signed `M. Morgan´ in black ink to the bottom right corner, also dated `Nov 67´, in her hand. Bearing to the verso a second watercolour. From 1970 Morgan spent a large part of her life to her passion, the painting. About VG  £100-150    

English School, 19th Century, A coastal landscape, indistinctly signed, 'E V Ada***', (lower right), watercolour, 14 x 19cm, together with a painting on glass of two seated ladies, 19 x 22cm (2).

A well detailed painting of a lion, signed H.Pellissier, '29, and a watercolour of figures on a beach.Approx 16.5x22cm and 23x28cm - NO RESERVE

JAPANESE SCHOOL BEETLE AND ORCHID watercolour painting on paper, signed, 79 x 33cm, landscape painting, with figures on a path, signed, watercolour, 70 x 45cm, NOBUKAZU Autumn piece, woodblock print, 72 x 30cm and a landscape, 61 x 21cm (4) Condition Report: larger landscape is rippled due to damp at some point. Autumn piece with repairs. smaller landscape with creases. all under glass.

L. PARSONSON - TWO WATERCOLOURS 'ROUEN' AND 'SOUTHGATE, LAUNCESTON' together with another of a sailing boat by Louie Berry, an indistinct pencil signed watercolour, pen & ink and a still life oil painting (5)

Russell Flint Watercolour Print title 'A Scrap of Newspaper'. Framed and mounted behind glass. Measures 19'' x 23'' including frame, painting measures 15'' x 12''. Please see images.

George Bath Watercolour. 20th Century painting of a view of the central square in Buxton with people seated close by. Signed. Size 17.5'' x 12'' (45 x 31 cms). Mounted and gilt framed.

Spanish School, manner of Roberto Domingo Y Falloya. Horses turning a Mill Wheel with man wearing a black sombrero. Watercolour. Another painting verso by the same hand depicting Continental thatched roof cottages in a leafy setting, Watercolour on paper. Unsigned. 29 x 42cm. .

AN 18TH / 19TH CENTURY INDIAN WATERCOLOUR ON PAPER ELEPHANTS & TIGERS, the paper painting depicting one figure seated upon to elephant in a waterside landscape, tigers and hounds,

MILDRED ANNE BUTLER RA RWS (1858-1941)'Flaunting Flowers'signed 'M.A. Butler' (lower left) inscribed with title and 'No. 2 ' and also stamped 'M.A. Butler, Kilmurry, Thomastown' on a label versowatercolour10 1/2 x 14 in Provenance: Private Collection, Presteigne The artist was born and spent most of her life in Kilmurry, Thomastown, Co. KilkennyShe became a member of the Royal Academy in 1893. Butler's painting entitled 'Morning Bath' was the first work by a female artist to be purchased by the trustees of the Chantrey Bequest and was then presented to the Tate Gallery She became an associate member of the Royal Watercolour Society in 1893

AFTER GEORGE STUBBS ARA (1724-1806)Sharkecolour stipple engraving with etching, by George Townly Stubbsfirst published by George and George Townly Stubbs 1794with printed inscription 'George Townly Stubbs...George Stubbs pinxt...Geo. Townly Stubbs Sculpt. Engraver to His R.H. the Prince of Wales/SHARKE/London Published May 20 1794 by Messrs. Stubbs, Turf Gallery, Conduit Street'all margins trimmed to near plate edge, title plate also trimmed, laid down on backing cardPl. 15 1/2 x 19 3/4 inLiterature: Lennox-Boyd, Clarke, and Dixon.The Complete Engraved Works of George Stubbs ARA ,(no.110 state 2)George Townly Stubbs originally advertised this print at 15s. plain or £ 10s. for proof or colour-printed impressionsThe source for the print is the oil painting in the Paul Mellon Collection (Egerton 1978, no.85.) another later version is known, and a watercolour reduction for this print by George Townly Stubbs is also in the Mellon Collection (Egerton and Snelgrove, p. 91 and pl. 51)The Sporting Magazine (Jan 1794) commentated of Sharke..'A most beautiful as well as a very famous horse: he won five single matches for one thousand guineas each, and upwards of twenty thousand guineas in stakes. He gave Laurel and Postmaster 7lbs. each each for a sweepstake of a thousand guineas over the Beacon Course at Newmarket. The portrait is of Price, who trained him.'Sharke was bred and owned by Robert Pigott (1736-94) of Chesterton Hall, in Huntingdonshire. Pigot was a sympathiser with the American and French revolutions and an aquaintance of Franklin, Voltaire and Brissot. He is said to have later become 'a zealous Pythagorean, as a vegetarian was than called, and was a dupe of the quack James Graham and his electric bed' (DNB)Sharke's racing winnings at Newmarket alone totalled over 16000 guineas. The highest sum to that date for any racehorse. He commenced as a stallion at Chesterton Hall in 1779. Later he was sold at Tattersall's to a dealer and exported to Virginia. His first season in America was spent at General Spottiswood's stud at Nottingham near Fredericksburg. His period at stud proved a success and he was later described by a correspondent as doing 'as much to enhance the value of the bloodstock of the United States as any horse ever imported' (American Turf Register, 1830, vol V, p173)

‡FRANCES RICHARDS (1903-1985)Two Figures holding handssigned with initials 'F.R' and dated 78pen, ink and watercolour sketch17 1/4 x 12 1/2 inSold with a signed lithograph by the artist which depicts a Hieratic Figure; two unframed lithographs depicting figurative subjects (from an edition of 20); a folio titled 'Virgil the Road to Town' (text and two lithographs); together with various privately printed literature associated with the artist; comprising 'Some Poems' by Richard Burns, Emitharmum Press 1976; 'Poems of Experience' by Frances Richards; 'More Poems and Drawings' by Frances Richards, 1983; and 'More Poems with Drawings' by Frances Richards, 1984; and 'A Friendship with John Tessimond' by Frances Richards 1979 (qty)Provenance; Margaret Pond, and thence by descentFrances Richards though perhaps best known as the wife of the painter Ceri Richards was also an accomplished artist in her own right. Mel Gooding wrote that her work though appears to have been little influenced by her husband's painting-'for over fifty years her own quiet and formalised figurative art was unaffected by her daily closeness to the extravagant and sometimes violent drama of (Ceri) Richard's paintings'

Collection of small framed and glazed Victorian prints including Queen Victoria, Prince Albert etc and a period framed miniature watercolour painting of Napoleon

Military Interest and in particular Dieppe and D Day Landings Mulberry Harbour and Winston S. Churchill - Colonel Vassal Charles Steer-Webster OBE born 1896 an important archive including the following: signed photograph Winston S. Churchill VE Day 1945 with accompanying personal letter to Colonel Steer-Webster "Herewith copy of my Minute - Piers for use on beaches - and an autographed photograph of myself as a gesture of thanks to you for helping me to achieve it by your dedication to Mulberry". NOTE - Colonel Steer-Webster was in almost daily contact with Sir Winston Churchill during the construction and development of the Mulberry Harbours. Colonel Steer-Webster's medals and miniatures, including Order of The British Empire, World War One and World War Two medals, French Legion of Honour Medal and American Legion of Merit Medal. Both presented in A.H. Baldwin & Sons Limited presentation cases. Silver model of a "Concrete Mat" hallmarked London 1942, presented to Major V.C. Steer-Webster RE "As a tribute to his ingenuity and energy in discovering a simple solution to the baffling problem that made Dieppe possible, N.E. Wates and R.W. Wates December 1942". Length 14 cm. Colonel Steer-Webster was Deputy Director of Experimental Engineering and played a large part in the design of Mulberry B for Arromanches and previously designed concrete mats, "Chocolate Mattresses" to allow access to beaches with heavy artillery. Colonel Steer-Webster was awarded £1000 for his invention from "the Royal Commission on Awards". A silver plated model "Whale" (floating roadway), length 15 cm, and a silver plated model "Phoenix" anchorage point, length 14 cm. Both were important sections of the Mulberry Harbour. Colonel Vassal Charles Steer-Webster's Military OBE, cased. Colonel Vassal Charles Steer-Webster's "Freedom of The City of London" in later silver case dated October 1963, Garrard & Co. The Freedom of The City of London granted in 1951 "In Recognition of his achievements for having the Mulberry Harbours ready of D Day". Watercolour, Colonel V.C. Steer-Webster and black and white photographs of the same in military uniform. Approximately 150 black and white photographs of aspects of the Mulberry Harbour in construction and use, including official photographs. Tinted panoramic photographic view of Mulberry B 1944, 18 cm x 100 cm. Terence Cuneo Mulberry B 1944, 32 cm x 57 cm. Scrapbook "Mulberry Mission" to Canada 1946 comprising press cuttings and photographs, etc. The Mission was to allay misconceptions in Canada that the Canadian action at Dieppe was simply a tragic episode in the campaign, when in fact the action paved the way for the allies brilliant success in the D Day Landings of 1944. A case of 71 photographic slides in wooden case all Mulberry Harbour related, including design drawings and the harbour itself. World War One - Private V.C. Steer-Webster's dog tags, 1914 silver cigarette case, Royal Engineers cigarette lighter, 1914 Christmas tin, Victorian silver hip flask, Elliott Brothers pocket barometer, service books. The bullet that was removed from Private Steer after an injury which led to him being declared "no longer fit physically for war service" April 1916. There are numerous other items within the archive including lecture notes and in depth analysis of the D Day Landings and documentation from colonel Vassal Charles Steer-Webster's later career. There is also correspondence with the French Authorities in relation to his receipt of the French Legion of Honour Medal. A brief note on the importance of the Mulberry Harbours - the Mulberry Harbours were floating artificial harbours designed and constructed by British Military Engineers during World War Two. They were used to protect supply ships anchored off the coast of Normandy after the D Day Landings of June 6th 1944. The idea for such harbours came from several people and in particular Winston Churchill. The harbours were intended to protect the ships from storm and enemy attack. Many of the French ports had been destroyed and/or booby trapped by the Germans. The disastrous British attack on Dieppe in 1942 rekindled the interest in the artificial floating harbours. Two were built for D Day. Mulberry A was constructed off Omaha Beach to supply US forces. Mulberry B was built off Gold Beach at Arromanches to supply British and Canadian troops. Mulberry A was destroyed in a storm a few days after it was built. Mulberry B was operational for some 10 months after the landings. In the 10 months after D Day Mulberry B was used to land over 2.5 million troops, 500,000 vehicles and 4 million tons of supplies. The harbour is credited by some historians with shortening the war by increasing the effectiveness of the allied supply chain during the invasion. The harbours were a huge feat of civil engineering. They were built hastily in the dry docks on The Thames and Clyde. They were pulled across the channel by tugs and assembled off the French coast. They were operational within 12 days of the landings. The archive also includes a war time letter from Louis Mountbatten from South East Asia Command Headquarters August 1945 writing to "thank you for your great kindness in presenting me with a painting of Mulberry. I was informed of this just before I left London recently but owing to the Japanese surrender I had to leave so quickly that I was unable to write at the time and thank you". There is also a signed letter from Winston Churchill dated 24th April 1945 thanking Colonel Steer-Webster for "the excellent coloured reproduction of Mulberry B which you have been good enough to have prepared for me" and "thanking you for the various models and relief map of the Mulberry which you have sent to my map room during the past months". There is a secret movement order to Steer-Webster and in reference to Juno Beach June 1944 and other wartime orders (see illustration).

Hugh (Grecian) Williams (1773-1829), watercolour, Scottish scene. 23 cm x 30 cm, framed, monogrammed lower left (see illustration). CONDITION REPORT: This picture is generally good condition. There is slight mottling to the sky, this is very light and looks almost like part of the painting. There is a light loss to the gilding on the frame and bumps to the corners of the frame. The picture has been remounted and the frame is more recent.

Early 19th century silhouette painting with watercolour highlights 7.2cm x 5.6cm in black lacquer original frame with gilt mount

PAMELA GUILLE ARCA (XX): A framed original contemporary watercolour painting on paper entitled "Garden Scene", 43cm x 67cm