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Click here to subscribeA collection of 19th Century letters and envelopes to include pre stamps and penny reds all addressed to a Mr Samuel Prout. Samuel Prout was a British watercolourist, and one of the masters of watercolour architectural painting. Prout secured the position of Painter in Water-Colours in Ordinary to King George IV in 1829 and afterwards to Queen Victoria, included is a letter from Henry Aston Baxter.
Harry Wingfield (1910-2002) gouache and watercolour on paper, Drawing a Treehouse' used as an illustration for the book '4a Things We Do' from The Ladybird Key Words Reading Scheme, page 10, signed 'Harry Wingfield' (lower right), verso bears a copyright sticker dated 1971 and Driffold Gallery sticker, framed and glazed, 26cm x 18cm, together with a copy of the book for which the painting was produced and a copy of the catalogue for the exhibition and sale of 'The original 'Ladybird' Illustrations' held at Drifford Gallery, showing it was lot 108 in the auction (3)
Of local interest: A selection of Newbury related collectables, including a metal Barnes and Co 'For Sale' sign, approximately ten 1950's programmes for performances at the Corn Exchange, a watercolour painting of the bridge over the canal, 27cm x 36cm, a pen and pastel sketch of The Queen Arms Hotel, 20cm x 30cm and an oil on canvas of houses alongside the canal, signed and dated 'L. Gilder 1975' (lower left) (14+)
TWO LATE 19TH/EARLY 20TH CENTURY LANDSCAPE PAINTINGS, the first depicts Deer beside a stream, indistinct signature, oil on canvas, the second is in the same style probably by the same hand, oil on canvas, both framed, approximate size 60cm x 30cm, together with a watercolour painting of the Ristorant Verbano situated on an island in Lake Maggiore, Italy, indistinct signature (C Galls?) early/mid 20th Century (3)
Georg Emanuel Opitz (German 1775-1841) - La Knute - Russians playing homage to black king giving him gold coins, any that do not pay homage are being flogged in the background, signed lower left, watercolour, framed & glazed, 36 by 46cms (14.25 by 18ins).Condition ReportSome foxing to painting and mount, otherwise looks to be good overall condition.
A Chinese painting on silk depicting birds amongst bamboo, framed and glazed. 33 by 28cm (13 by 11 ins), together with two Chinese watercolour paintings, one depicting a scholar sat beneath a tree with calligraphy, the other of a cricket in a cage, framed & glazed, 42 by 31cms (16.5 by 12.25ins) (2).
A Stanfield (19th century British), marine scene in the early 19th century manner, watercolour on paper, signed, 29 x 47 cm, together with further late 19th century and 20th century pictures and prints including an oil painting on canvas of a marine scene at moonlight, signed with initials G E W, 37 x 28 cm, a sepia coloured watercolour and wash study of Calais harbour inscribed verso Adrian Beach, further watercolours, photographs, prints, etc, various sizes, mostly unframed (collection)
Charles Edward Dixon (1872-1934)Watercolour drawing Pool of London with shipping and Tower Bridge in background, signed lower left, 23cm x 35.5cm (framed and glazed with a gilt mount)Condition ReportOn back of frame, brown backing paper ripped; wooden panels beneath appear to be intact. Minimal amount of cracking noted on frame (bottom left). Small mark just above centre of painting and three more on right hand-side
Henry Andrew Harper (British 1835-1900) - a 19th Century watercolour painting on paper depicting a rugged landscape scene at dusk with travellers depicted around a fire beneath a group of three trees. Signed H A Harper to the left corner. Framed and glazed. Measures: 21cm x 33cm. Frame measures: 50cm x 63cm.
Frederick George Lewin 1861 - 1933 ( Bristol Savages ) A series of 3 En Grisaille watercolour painting studies believed to be of Bristol, England. To include street scene with pub and dray, interior theatre scene with orchestra and anothes street scene with church, monument and people . Signed monograms to each with good framed and glazing. Measures 54cms x 44cms ( frames )
* MHAIRI MCGREGOR RSW (SCOTTISH b 1971), MOOLOOLOO HOMESTEAD, SA gouache on paper, signed 27cm x 30cm Mounted, framed and under glass. Note: MHAIRI PATRICIA McGREGOR RSW was born in 1971. She studied at Glasgow School of Art from 1989 - 1993, gaining a BA (Hons) in Fine Art. She has exhibited very widely in Scotland, in England and Australia. While at Art School she received a number of awards including one month working in Vetheuil, France, a Christie’s Bursary for 3rd-Year Studies, Glasgow School of Art Landscape Drawing Prize for a sketchbook done in the open and a John Kinross Scholarship - 3 months working in Florence, Italy. Following graduation, she spent six months painting in Australia. In 1996 she was interviewed by BBC Radio Scotland for The Usual Suspects programme. In 1997 she was short-listed as one of four for the Alastair Salvesen Scholarship and she was awarded the Under 25 Regional Winner of the Laing Art Competition. She spent a further four months painting in Australia. In 1998 she was short-listed, one of six for Gilchrist-Fisher Memorial Award. She took part in a Scottish Television interview for The Home Show programme. In 1999 she was short-listed, one of four for the Alastair Salvesen Scholarship. She was awarded the Ruth Davidson Memorial Award - 3 months working in the South of France. She was elected Member of the Royal Scottish Society of Painters in Watercolour. In 2000 she was awarded Glasgow Art Club Fellowship and spent two months painting in Australia. In 2001 she was awarded the Alexander Graham Munro Travel Award and the Paisley Art Institute Prize. In 2002 she spent two months painting in Arizona and New Mexico.
RURAL/BUILDINGS/WATERCOLOURS. Eight items to include seven framed and one mounted watercolour painting depicting buildings in rural landscapes. some with writing to verso. Frames to measure: 12x10.5", 12x10.5", 15x11.5", 16.5x13", 14.5x11", 14.5x11", 17.5x13.5", 17.5x13.5". Note: Overview photo may not be to scale.
CHESHIRE/WATERCOLOURS. Three framed watercolour paintings to include 'Moreton Hall, Cheshire' signed 'T.F. Evans to measure 22.5x17.5", a painting of a house signed 'C. W. L. Dashwood, 1931' to measure 19.5x16.5" and a painting of the Falcon Inn, Chester to measure 22x17. Note: Overview photo may not be to scale.
* Brock (Charles Edmund, 1870-1938). '"Burnt again," he remarked in a sad voice', pen & ink on card, depicting King Alfred in a cottage kitchen gesturing to some steaming cakes on a rustic table, observed by a small girl with plaits, signed and captioned lower left, with inscription to lower edge in sepia ink 'The Adventures of Polly Margaret Smith, Part I. No.2', slightly dusty, portion cut away from left-hand margin encroaching into background without loss of drawn image (damage to sheet and part of left-hand edge of image obscured by mount), sheet size 28.5 x 21 cm (11.25 x 8.25 ins), mounted, together with 14 other original drawings and watercolours, including: a pen, ink & watercolour on vellum by Dorothy Burroughes of Punch and Judy, a few fox spots, 23 x 27 cm (9 x 10.5 ins), mounted; a pen, ink & watercolour on paper by Bert Hookham of an 18th century gentleman in an interior with playing cards scattered on a table and on the floor beside, 33 x 46 cm (13 x 18 ins), mounted; a pen, ink & watercolour by G.M. Holt of children playing with dolls, 17 x 22.5 cm (6.5 x 8.75 ins), mounted, framed and glazed; a gouache painting by Phyllis Cooper of a wide-eyed small boy dismantling a telephone, slightly rubbed, 38 x 28 cm (15 x 11 ins), laid down on card; a pen, ink & watercolour on paper laid down on card by Maria Williams depicting a young girl and three mermaids, toned, 25 x 17.5 cm (10 x 7 ins); and a watercolour and gouache illustration on card laid down on thick card by Ernest Boye Uden of a young man on a hillside looking down on a travelling caravan, 31 x 28 cm (12.25 x 11 ins), plus 3 framed Margaret Tarrant prints, and 2 mounted Jessie M. King prints (Qty: 19)
* Folkard (Charles, 1878-1963). The Wizard's Enchantments, pen, ink, and watercolour on artist's board, depicting a cavernous candle-lit scene with a wizened bearded sorcerer sitting on a high stool, dressed in a scarlet cloak, and matching fur-lined boots and pointed hat adorned with stars and a crescent moon, with a potion bubbling on the brick stove before him, large leather-bound tomes scattered on the floor, a crow perched on an open volume, a pair of onlooking mice, a skull, and various other accoutrements of wizardry, 26 x 17 cm (10.25 x 6.75 ins), mounted, together with a pencil sketch on paper similar, depicting a wizard at work surrounded by bellows, ancient texts, potion bottles, pestle & mortar, etc., a few paint stains, verso with additional sketch of a wizard, pencil, partially outlined in black ink, sheet size 25.5 x 20 cm (10 x 8 ins) (Qty: 2)NOTESProvenance: From the artist's studio and thence by descent. This striking painting, so typical of Folkard's style, with its meticulous line, fantastical subject and atmospheric palette, was probably never published. Folkard may well have used his own visage as a starting point for that of the wizard; the bearded Pre-Raphaelite appearance of the artist in his early days translated well into such subjects, which could then be worked up to greater heights of fantasy. The subject of magic and wizardry itself would have had a special interest and meaning for the artist as he worked for a period of time as a magician under the name 'Professor Volkard' after attending a show at the Egyptian Hall in London. It was only when designing his own conjuring show programmes that his artistic genius became apparent.
Sergei Nikolaievich Andriyaka (Russian b. 1943) Fir trees in the snow; Autumn trees Two, both signed, one dated 2010, the other 2004 Both watercolour 68.2 x 51.2cm; 74.6 x 53.2cm (2) Provenance: Both acquired from the artist by the current owner; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 216-217, 220-221 (both illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Sergei Nikolaievich Andriyaka (Russian b. 1943) Flooded forest; Landscape with buildings amongst trees; Landscape with a path running alongside a forest Three, each signed and variously dated 2008, 2004, and 2007, and extensively inscribed to backing boards Each watercolour 11.2 x 16.6cm; 11 x 17.4cm; 10 x 17.8cm (3) Provenance: Each acquired directly from the artist by the present owner; A Private Collection of Soviet, Russian and Azerbaijani Art Literature: Natalia Alexandrova and Olga Polyanskaya, Beyond the Boundaries of Socialist Realism (Unicorn Press, 2015), pp. 214-215, 218 (each illustrated) Lots 237-261 A Private Collection of Soviet, Russian and Azerbaijani Art This privately owned collection of Soviet, Russian and Azerbaijani art illustrates some of the most interesting aesthetic developments in the art of the former USSR in the 20th century. Stalin died in 1953, an event which led to a remarkable sequence of events in the Soviet art world. Over the course of the next decade, Nikita Khrushchev would release prisoners from labour camps, deliver a speech which denounced Stalin and authorise far greater freedom of artistic and personal expression. This period gradually became known as "The Thaw" and, in 1960, the All-Russian Union of Artists was organized, a body to which many of these artists in this group belonged. This was also the moment when the extraordinary holdings of Impressionist and Post-Impressionist art in the Hermitage and Tretyakov became available for study by the artistic community. The effect was immediately felt and there is a generation of artists from 1960 onwards who echo the style, composition and aesthetic of the French forebears. Andriyaka (lots 247-249) Britov (lot 243), Redko (lots 240-242), Karasiov (lot 245) and, perhaps most importantly Sergei Tkachev (lot 252) exemplify this dynamic. The Socialist Realist style is captured by Redko (lots 240-242) with workers in the fields and the village landscapes of Radimov (lot 258) and Vasin (lot 254). However, the period after the Thaw was an exciting and febrile time when scientists, workers and engineers became the heroes of painting. From these economic and sociological changes, a style of painting known as "The Severe" was born. Obrosov was a leading pioneer of the Severe (lot 259). As an artist, he has received retrospective shows in the State Russian Museum and his work is held by the Tretyakov and other major institutions, yet he remains largely unknown in the West. The same could be said for many of the artists represented in this group, often carefully selected from the artists' studios. The Azerbaijani School is represented by a single, almost mystical composition (lot 246) which recalls the style of Chagall who, it must be remembered, was born in Belarus which was part of the USSR at the time. The group also contains a number of works by important female painters, for example, Natta Konysheva (lot 255) and Kalinicheva (lot 237) who has often too simply been regarded as Mrs Viktor Popkov, the famous Severe artist. Many of these artists were teachers as well as practitioners and they willingly bore the responsibility for moulding the aesthetic styles of the current contemporary artists in Russia. This collection shines a much needed spotlight on undervalued and largely unrecognised talent.
Warwickshire. An illuminated presentation album, containing watercolours of Warwickshire landmarks & views by Herbert Edward Cox, October 1904, presented to F.G. Green Esq. H.M.I. on his retirement as an inspector of schools from local teachers' associations October 1904, comprising 2 leaves of thick board with presentation title and address signed by association members, and 18 watercolours by H.E. Cox of Warwickshire landmarks & views, each window mounted on 8 thick board leaves (including circular, oval and rectangle portrait & landscape formats, mounted back-to-back), views include Coventry, St. Michael's Spire, St Mary's Hall, Ford's Hospital, Royal Pump Room, Henwood Mill, Griff House, Solihull Church, Coton Church, Warwick Castle, Leamington Bridge, Adelaide Bridge, Guy's Cliffe, Kenilworth Castle, Leicester's Hospital, Stratford-on-Avon Church, Shakespeare's Birthplace, and Ann Hathaway's Cottage, each signed by the artist and dated 1904, dimensions vary from approximately 15 x 11 cm to 9 x 10.5 cm, occasional light finger-soiling to margins and few marks, all edges gilt, marbled endpapers with black calf leather hinges, contemporary black calf, upper board with five roundels containing watercolour armorials of Warwickshire, Coventry, Royal Leamington Spa, Warwick and Stratford-on-Avon, neatly rebacked, extremities rubbed, covers slightly scuffed, oblong folio, leaf size 24.7 x 37.6 cm (Qty: 1)NOTESHerbert Edward Cox (1870-1941) was born in Coventry, the fifth of seven children born to James and Sarah Cox. He attended the Grammar School, and after the death of his father in 1887 he trained to paint at the Municipal School of Art in Coventry, becoming a designer and draughtsman. The family moved in 1901 to Eastbourne, where his mother kept a lodging house and he took up textile design. Herbert returned to the Midlands after marrying fellow Coventrian, Margaret Shilton, a secondary school teacher, in Yorkshire. He taught painting at the Coventry Technical Institute and became recognised locally as an accomplished artist, recording street scenes of pre-war Coventry and many surrounding villages and towns.
ATTRIBUTED TO JOHN CONSTABLE (1776-1837) WATERCOLOUR SKETCH OF PAXHILL PARK HOUSE, SUSSEXMEDIUM: WATERCOLOUR AND PENCIL ON PAPER.VERSO: J S MASS & CO LTD, NEW BOND STREET GALLERY LABEL. IMAGE SIZE: 16.5 CM X 10.5 CM.EXTERNAL FRAME DIMENSIONS: 38 CM X 33 CMTHIS SMALL WATERCOLOUR SKETCH THAT WE BELIEVE TO BE BY JOHN CONSTABLE IS LIKELY TO HAVE BEEN POSTED AS PART OF A LETTER FROM CONSTABLE TO SOMEBODY WHEN HE WOULD HAVE BEEN STAYING AT PAXHILL HOUSE IN SUSSEX WHILST FULFILLING HIS COMMISSION OF PAINTING PORTRAITS OF THE CRAWFURD FAMILY WHO HAD BEEN THE OWNERS OF PAXHILL PARK FROM 1768 TO 1864.PAXHILL PARK IS CURRENTLY THE RESIDENCE OF AMNESIA INTERNATIONAL; ACCORDING TO 'VISITATION OF ENGLAND AND WALES NOTES 3 1898, PORTRAITS OF THE CRAWFURD FAMILY BY JOHN CONSTABLE ARE HELD AT EAST COURT, EAST GRINSTEAD.ONE OF THE CONSTABLE'S LIFE SIZE PORTRAITS OF CHARLES CRAWFURD AS A TODDLER IS DOCUMENTED AS MISSING SINCE 1979HTTPS://WWW.INDEPENDENT.CO.UK/NEWS/UK/HOME-NEWS/HUNT-ON-FOR-TWO-MISSING-PORTRAITS-BY-CONSTABLE-9163260.HTML THE JOHN CONSTABLE SIGNATURE IS A FRAGMENT WHICH IS LIKELY TO BE FROM THE THE LETTER THE SKETCH WAS ENCLOSED WITH.REFERENCE: VISITATION OF ENGLAND AND WALES NOTES: VOLUME 3 1898, PAGE 127.BY JOSEPH JACKSON HOWARD, FREDERICK ARTHUR CRISP
Sam Bough R.S.A, R.S.W. (Scottish 1822-1878) Unloading the wreck Inscribed on an old trade label verso, watercolour (Dimensions: 25.5cm x 36cm (10in x 14in))(25.5cm x 36cm (10in x 14in))Footnote: Note: It is unsurprising that an artist such as Sam Bough was drawn to the dramatic visuals of day-to-day life working on the coast. The fishing village of Newhaven in the late 19 th century, despite its close proximity to Edinburgh, was extremely distinctive, particularly in the striped attire of the Newhaven fishwives. Such was the variation, that the village was the subject of much early photography by innovators David Octavius Hill and Robert Adamson. For Bough, these striking differentials must have appealed, but ultimately he was drawn to all coastal villages as an intersection between water and land - a hub of busy industry and scene of dramatic and changeable weather conditions. By the late 1850s, Bough was settled in Scotland and had moved east to Edinburgh, hoping to make his mark in the country’s capital city. At this point, artistically, he was reaping the rewards of many years working and sketching outside, most particularly amongst the ships and shores of the Clyde, Forth and the Fife coast. Largely self-taught as an artist, he had trained his eye sketching from nature across the countryside of the north of England, before working in set painting in Manchester and Glasgow, continually creating his own paintings out with these hours, eventually building enough success to move to painting full-time.
William John Leech RHA ROI (1881-1968)The Bridge in Regent's Park (c.1935)Oil on canvas, 49 x 60cm (19¼ x 23½'')SignedAway from France and living in London, Leech turned to locations for landscape subjects, which were close at hand. Regent’s Park was a short walk downhill from his studio at 4 Steele’s Studios, Haverstock Hill, N.W.3 and he began a series of paintings, which is possibly Leech’s longest, comprising over twenty works. The first painting titled ‘The Bridge, Regent’s Park’ was exhibited at the R.H.A in 1935 and judging from its price, it was more likely to have been a watercolour. This was a common practice for Leech, working en plein air, and then developing the work in oils, on a larger scale, in his studio. He wrote to Leo Smith in January 1953, telling him that he was still painting in Regent’s Park at that time; ‘By the way, I am getting £60 for “The Bridge”. This fact may encourage your customer. I ….am now working in Regent’s Park again, which is really lovely when it is fine.’ The influence of Monet is again apparent in this Regent’s Park series, in particular with Monet’s scene at ‘Giverny, Morning Mists’, 1897 (N.Carolina Museum, Raleigh, USA). Leech painted in Regent’s Park throughout the year, even in the winter months as in this work. Here, he focuses on the main arch of the bridge heightened by the diagonal formed by the fence in the foreground which frames the water and which is repeated in the railings on the parapet of the bridge. The reflections of both in the browns and grey blues of the water and the ochres of the bank and the umbers of the tree trunks, suggest early winter with a silvery grey reflected sky. Although this work had labels on the back of the frame, denoting ‘No.2. Back Gardens’, this is a completely different work, which Leech exhibited at the R.H.A in 1944, from 20, Abbey Road, London, N.W.8, his partner, May Botterell’s flat. Leech kept to a small range of canvas sizes, which allowed him to reuse frames from unsold works. When Steele’s Studio was badly damaged, several times during the 2nd World War, Leech used 20 Abbey Road as his studio address. Dr Denise Ferran, October 2019.
Jack Butler Yeats RHA (1871-1957)The Mexican of the Circus (1902)Watercolour, 36.5 x 26.5cm (14 1/2 x 10 1/2'')SignedExhibited: 1902 Dublin; 1965 Waterford (3); 1971-72 Dublin, New York (20).Provenance: Given to the Reverend TA Harvey, Bishop of Cashel in 1902; thence by descent. Literature: Hilary Pile, 'Jack B. Yeats, His Watercolours, Drawings and Pastels', Irish Academic Press, 1993, catalogue no. 420, illus. p. 118.This is an early watercolour painting of a circus act by Jack B. Yeats. A young man rides a white horse bare backed, gripping onto a leather girdle around its body. The man wears a wide-brimmed white hat and a loose sleeved red shirt, his costume accentuating his persona as ‘the Mexican’. There is something oddly Irish about the clothing also - the hat, loose trousers and pampootie style moccasins are reminiscent of the traditional attire of the Aran Islander which featured in other works by Yeats of this time. One of the attractions of the circus for Yeats and others was its mixture of unfamiliar nationalities and races along with its fabulous menagerie of animals from across the globe. Yeats was a prolific visitor to the circus, both in England where he was living in 1902, and in Ireland. His sketchbooks are full of drawings of the various acts and of the crowds that watched the performances, providing ideas and motifs for many of his later paintings. Here the canvas awnings of the interior of the tent provide the backdrop. The composition is dramatically cut-off, emphasising the contorted but agile figure of the performer as he skilfully maintains his balance. In the lower right corner the head and hands of an onlooker is visible. He is engrossed in the spectacle, and his inclusion enables us to share in the suspension of the everyday that the circus provided for its many admirers. The painting was given by Yeats to his close friend, the Rev. T. A. Harvey who was later Bishop of Cashel. Harvey had been a tutor to Lady Gregory’s son Robert and had met Yeats at Coole Park. The two visited each other and corresponded during these years. They were part of a close circle of friends and acquaintances that included Robert Gregory, his wife Margaret, Cottie Yeats, and the writer, J.M Synge.Dr. Róisín Kennedy, November 2019.
* Sam Haile [1909-1948]-African Musicians, signed and dated Haile 1939 bottom rightpencil and watercolour heightened with white27 x 36.5cm.* Notes Exhibited. Mica Exhibitions, The Surrealist Paintings & Drawings of Sam Haile, 1967/68.Provenance. The Marianne de Trey Collection, sold these rooms 28th January 2010, lot 517.An oil painting with the same title with Birch & Conran, 1987.
Edward Bawden, CBE. R.A. (1903 - 1989) watercolour, ' After the Storm ', 18ins x 22.5ins, signed and dated 1962, original frame with original label versoFrom a local private collection.Discolouration of paper, also has some water spots (not sure if this is intentional or accidental but seems to be from time of painting)
* ROBBIE BUSHE RSA, ON THE WRONG TRACK watercolour on paper, signed and dated '93 28cm x 37cm Mounted, framed and under glass. Label verso: The Scottish Gallery, 16 Dundas Street, Edinburgh. Exhibited: Edinburgh, The Scottish Gallery, 'Robbie Bushe - New Paintings'. 11 April - 4 May 1994 [Cat no 55/GCOS 6218]. Note: Robbie Bushe has won national awards throughout his career including the Guthrie Medal at the Royal Scottish Academy and most recently he was the winner of the £10,000 first prize in the inaugural W Gordon Smith Award (2016) with his painting being judged the best of over 500 submissions. Bushe is represented by The Open Eye Gallery (Edinburgh) and his most recent exhibition "Neo-Neanderthals" (a collaborative project between artists Robbie Bushe and Jeanne Cannizzo) was held at the Royal Scottish Academy (Edinburgh) 14th September - 20th October 2019.
Louise Rayner (British 1829-1924) Gilt framed watercolour, signed lower right 'Street Study Weaver Street, Chester' 32cm x 20cm Painting is in excellent condition. There are no noted tears, creases, foxing or damages. Colours are strong with no noted fading. Two small pieces of gesso missing from frame.
Elizabeth Mary Watt (Scottish 1885-1954) ARR Framed watercolour 'Three Witches on a Moonlight night' 33cm x 23cmPainting is in excellent condition. No damages to the frame, mount or glass. The colours are strong with no sign of any tears or damages to the paper. No noted foxing or discolouration. Paper isn't completely flat under the glass, has a couple of slight bumps but not detrimental to the painting.
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