We found 13241 price guide item(s) matching your search

An early 20th century Arthur W Perry watercolour painting depicting Devon Bay and cliff. Signed to the lower corner. Framed and glazed.

Conrad Hector Rafaele Carelli 1869-1956 Egyptian Town Street Scene with figures, watercolour signed by the artist, mounted and framed behind class. Painting size 9'' x 6'' - 22.5 cm x 15 cm. Pristine original condition, confirm with photographs.

Conrad Hector Rafaele Carelli 1869-1956, Listed Artist, Watercolour 'The Bridge at Nevers'. Signed by Artist to lower left. Mounted and framed behind glass. Painting size 7.5'' x 15'' (18.75 cm x 45 cm).

Gabrielle Carelli, Listed Italian Artist, 1821-1900, Watercolour of Spanish Desert Scene with Figures. Watercolour signed by artist, mounted and framed behind glass. Painting size 5.25'' x 7'' - 13.10 cm x 17.5 cm. Pristine original condition, no issues.

Gabrielle Carelli - Italian Listed Artist 1821-1900, Watercolour of Street Scene in Spanish Town, circa 1880s. Signed by artist. Mounted and framed behind glass. Painting size 7'' x 5'' - 17.5 cm x 12 cm. Pristine original condition, no issues of any kind. From a gentleman's private collection.

Conrad Hector Rafaele Carelli 1869-1956 Titled English Summer Garden Landscape with Hills and Fields in distance. Overcast skies. Watercolour Signed by Artist lower right. Mounted and framed behind glass. Painting size 7 by 9 inches 17.5 by 22.5 cms. All aspects of condition excellent. From a private collection.

David Woodlock RA (1842 - 1929) Liverpool Artist, fine quality watercolour wash depicting a girl in an English country garden, titled 'The Orchard, Wickett', fully signed and housed in a fine gilt frame and slip, 14 inches (app.35cms) x 17 inches (app.42.5cms) overall, painting alone 6.5 inches (16.25cms) x 9.5 inches (23.5cms)

Bernard Walter Evans RI RBA (1843 - 1922), Fine Watercolour Drawing, titled 'In Windsor Park', fully signed, depicting a woodland approach to Windsor Castle, with a seated figure near a tree; framed and glazed, 32 inches (app.80cms) x 25 inches (app.62.5cms) overall, painting alone 21 inches (app.52.5cms) x 15 inches (app.37.5cms)

An oil painting of a farmer ploughing the field with shire horses, watercolour of a village scene, together with two further pictures. (4)

Harold Sutton Palmer (1854-1933) Mountainous Landscape with Stream, signed bottom left, watercolour, measurements 37 x 54 cm, frame 56 x 73 cmDowdeswells of Bond Street label versoCondition report: The painting is framed under glazing, not examined outside of the frame. The paper appears in generally good condition with no obvious signs of rips, creasing or folds. There are some spots of foxing in the background. The paint condition appears generally stable, some potential minor fading of colours. Frame has wear and tear including surface losses

Fritz Reusing (1874-1957) Portrait of a Lady in a Blue Dress, signed bottom left and dated 1912, watercolour, measurements 145 x 104 cm, frame 158 x 116 cmProvenance: purchased by the current vendor from an estate sale in Cornwall. By repute the painting was commissioned from the artist and rejected by the customer upon completion due to its large size.

EDWARD OCTAVIUS DAVEY (British, late 19th century); two oils on canvas, one depicting a man and horse and Romany traveller caravan, unsigned, 25 x 33cm and a boy resting on a woodland cliff, unsigned, 24 x 34cm, two oil painting studies on board comprising woodland, unsigned and a boy with dog resting, possibly observing animals, signed lower left, 20 x 25cm, also a watercolour on paper depicting a woman with red hooded dress and blue shawl resting on woodland path, mounted on board, signed lower left, 28 x 38cm (5). Provenance: The vendor is a descendent of the artist.

INDISTINCTLY SIGNED; a 19th century oil on canvas titled 'In the Old Rectory Grounds Hanforth', depicting a gardener tending to vegetable patch, a lady and a farmer walking on a path, the farmer with cattle, with trees and buildings in the distance, indistinctly signed, 49 x 75cm, framed, also Austin Smith (early 20th century); a watercolour depicting Runswick Bay with small fishing boats or lobster boats within harbour, signed lower right, dated 1924, 26 x 36cm, framed and glazed, frame size 41 x 51cm (2). CONDITION REPORT The first painting has a split to the canvas at the top part.

VERA CAVE (English, 1930s); part finished oil on board 'Orchids', depicting wild orchids with fern and other foliage, signed, titled and pencil signed verso, 46 x 66cm.Vera Cave was a watercolour artist from Blackpool, Lancashire and taught watercolour painting. Her artwork can be seen in the Grundy Art Gallery and she exhibited at the Royal Academy.Purchased from the estate of Vera Cave by the vendor's late father.

VERA CAVE (English, 1930s); a collection of five watercolours, oils and a drawing, to include still life of roses in glass on sideboard, first exhibited in Blackpool 1926, 37 x 55cm, wisteria in slender silver vase, 47 x 30cm, still life 'Roses', states on back 'Not for Sale', watercolour on paper mounted on board, 39 x 54cm, a drawing on paper mounted on board depicting horse, cart and hay on country path with children playing with a cat, monogrammed VC lower right, 35.5 x 53.5cm and 'A Rainy Day at Buckdon, Yorkshire', depicting the side elevation of the farm buildings, watercolour on paper, 27 x 37cm (5)Vera Cave was a watercolour artist from Blackpool, Lancashire and taught watercolour painting. Her artwork can be seen in the Grundy Art Gallery and she exhibited at the Royal Academy.Purchased from the estate of Vera Cave by the vendor's late father.

VERA CAVE (English, 1930s); a group of four paintings comprising a still life pencil sketch of fruit in pedestal dish, a watercolour depicting the head of an orchid, a watercolour still life of flowers 'Sweet Peas' and a watercolour of the back elevation of a red brick Georgian manor house with gardens to the front, all framed and glazed, smallest frame size 41 x 34cm, largest frame size 83 x 58cm (4).Vera Cave was a watercolour artist from Blackpool, Lancashire and taught watercolour painting. Her artwork can be seen in the Grundy Art Gallery and she exhibited at the Royal Academy.Purchased from the estate of Vera Cave by the vendor's late father.

VERA CAVE (English, 1930s); a collection of seventeen studies to include 'Bridge End Farm, Bispham', 'The Light Ship', 'Trees at Little Thornton', 'Daffodils', 'Lytham', 'Tree Study', 'Chasol Bridge at the Wyre', 'Model at Art Society's Life Class', various poppies and other flowers and various buildings, 'Weeton Windmill', 'The Eagle and Child at Weeton', still life of wine bottle, basket and lemons, etc, most are signed and titled to the reverse, some with dates (17).Vera Cave was a watercolour artist from Blackpool, Lancashire and taught watercolour painting. Her artwork can be seen in the Grundy Art Gallery and she exhibited at the Royal Academy.Purchased from the estate of Vera Cave by the vendor's late father.

A PORTRAIT MINIATURE OF A GENTLEMANBy Henry Bone, R.A. (British, 1755-1834)Wearing a blue coat, white waistcoat, chemise, stock and tied cravat, his hair powdered, watercolour on ivory, signed HB, in a gold frame with border and suspension loop set with pearls, the reverse with blue glass surrounding an aperture, glazed to reveal a wheat sheaf of hairOval 7.1cm x 5.5cmCondition report:- Slightly warped with no adverse cracking- Painting probably refreshed- See all additional images- Glass cover is loose and detaches from the frame require re-fixing- Several seed pearls probably replaced and sit higher than others- Two cracks to the blue glass reverse and a swirl-like inclusion beneath the glass- Some loose pearls inside locket compartment

F Jackson (British late 19th century) - Full length study of mischievous looking boy seated on a chair, watercolour and bodycolour on paper, signed and dated 1890, 31 x 24.5cm in moulded frame and gilt slip, together with an early 20th century school oil painting on canvas, half length study of a smiling fair haired baby seated in a high chair holding an apple, no visible signature, 46 x 36cm approx, unframed (2)

Mid 19th century British school - Half length study of a baby in Tudor style costume holding an apple, watercolour and bodycolour on paper, signed with initials JPB, dated 1853, with W Holland frame maker label verso and further details relating to the painting, 35.5 x 27cm in good quality moulded gilt frame

19th century school, study of a cat playing with its kittens, watercolour on paper? (not removed from frame), no visible signature, 11 x 13.5 cm approximately in burrwood frame, together with an oil painting on board of a pair of kittens on books, no visible signature, 13 x 10.5 cm approximately in gilt frame, also together with a framed postcard of a humorous naïve style cat (3)

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006), ROCK VILLA, PITTENWEEM oil on board, signed and dated '63 image size 60cm x 90cm, overall size 74cm x 104cm Framed. Artist's label verso. Note: An exceptional and large example of Bill Birnie's work. Note 2: Bill Birnie studied at Glasgow School of Art under Gilbert Spencer and then at Hospitalfield under Ian Fleming. After graduating, he joined the staff at Hyndland Secondary School in 1952. That same year he was also elected a member of the Society of Scottish Artists (SSA). In 1958, he became a founder member of the Glasgow Group and formed the Glasgow Group Society, of which he was Vice-President for 32 years. In 1965, he was elected a member of the Royal Scottish Society of Painters in Watercolour (RSW), a society of which he also became Vice-President and Treasurer. He became Principal Art Teacher at Douglas Academy, near Bearsden, and later at Gryffe High, near Kilbarchan. Bill's abilities not only as a teacher but also as an administrator were noticed by the Department of Education and he was soon appointed Head Examiner in Art for Scotland. He still managed to maintain a very active exhibiting schedule, and showed in all the main public galleries and many of Scotland's best commercial galleries. His work was enthusiastically collected and increasingly sought after. He was elected a member of the Royal Glasgow Institute of Fine Art (RGI) and of the Paisley Art Institute (PAI). In the early years he painted from his garden, showing the village of Kilbarchan in its changing seasons, under a quiet blanket of winter snow, or framed in a blazing sunset through autumnal trees. Later visits to France and Italy with his artist wife, Cynthia Wall, whom he married in 1953, brought new subject matter, cafe scenes, vine groves, Italian cliff top villages, and the crumbling facades of palaces and churches of Venice. It was characteristic of the man that when told that his illness was terminal, he calmly put his affairs in order and started work for a final one-man show at the Open Eye Gallery (Edinburgh) the scene of so many of his successful shows. Unsurprisingly, the exhibition was a complete sell-out. In recent years there has been a widely acknowledged acceleration in the prices achieved at auctions around the UK for William Birnie's paintings. In the Scottish Contemporary Art Auction of 8th November 2020 lot 567 "The Red House" a 60 x 90cm (the same dimensions as Rock Villa, Pittenweem) sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* NEIL MACDONALD RSW RGI PAI, FIRST LIGHT, ST ABBS oil on canvas, initialled, titled label verso image size 97cm x 71cm, overall size 119cm x 93cm Framed and under glass. Artist's label verso. In our opinion, the finest example of Neil MacDonald's work to be offered at auction, anywhere. Note: Neil Macdonald has been the recipient of many awards including 2013 Elected RSW (Royal Scottish Society of Painters in Watercolour); 2013 Joe Hargan Award, Maclaurin Fine Art Exhibition, Ayr; 2013 Elected RGI (Royal Glasgow Institute of Fine Arts); 2012 The Smithy Gallery Award (PAI); 2012 Diploma of the Paisley Art Institute; 2011 Robert Innes Award - Scottish Drawing Competition; 2009 Discerning Eye, London- Scottish Regional Winner; 2009 Charles Jamieson Award PAI; 2008 University West Scotland Award PAI; 2006 EDC Ann Stevenson Memorial Award; 2005 EDC Purchase Prize; 1997 Contemporary Art Prize (Eton) Paisley Art Institute; 1981 David Cargill Travelling Scholarship (Italy and Belgium); and 1979 William Shanks Painting Prize. Neil MacDonald trained at Glasgow School of Art from 1975 until 1980, where he developed his considerable skills as a painter and consummate draughtsman. He is drawn to locations that exert historic and mythic presence, exploring the lyrical narrative of natural sites and strong bold shapes of castles, old townships and harbours. He does this through distortion of perspective, invention and editing, aiming to capture an essence of the structure or place. Colour is used in an emotive way to heighten the sense of mood, applying each layer upon layer of paint in a divisionist manner until a unity of statement is realised as the image emerges, revealing the subject’s unique sense of place. This fine example in superb condition has been consigned by a private collector from Gloucestershire who is in the process of downsizing.

* DANNY FERGUSON RSW RGI (SCOTTISH 1925 - 1993), SHALLOWS watercolour on paper, signed; titled on RSW Exhibition label verso image size 64cm x 91cm, overall size 75cm x 103cm Framed and under glass. Exhibition label verso: Royal Scottish Society of Painters in Water-Colours. Note: b. Lanarkshire, 1925, d. 1993. GSA student 1941-1943, Glasgow School of Art staff 1947-1986 (Both full-time and as a visiting staff member). Danny Ferguson was educated at Airdrie Academy from 1936-1942. He was an athletic youngster, playing football for (amongst others) Baillieston Juniors, Bedlay Juniors, Douglas Water Thistle and Blantyre Victoria (taking over the centre-half position from Jock Stein). Later in life, he was a keen snooker player, frequently championing the Glasgow Art Club, and enjoyed Curling. He began studying at GSA in 1941 but his studies were interrupted when he was called up. He joined the Royal Air Force in 1943 and served in the Far East. He re-joined GSA in 1947 and was awarded his diploma in Drawing and Painting in 1949. That same year he won a £30 prize at the Royal Scottish Academy annual competitions. From 1949-1950 he attended the Jordanhill Teacher Training College. He later combined a position as visiting lecturer at GSA with teaching in various Glasgow Schools. He returned to GSA as a full-time lecturer in 1968. In 1958 Ferguson married Margaret Dunn, also a graduate of the Glasgow School of Art, in Embroidery and Weaving. They had two children, Anne and David. Probably best known for his landscapes, still lifes and self-portraits. He exhibited regularly, had numerous one-man shows, and his work still hangs in many collections, including the Royal Collection. Danny Ferguson was elected a member of the RSW in 1969, having exhibited there from 1961. He had over 88 works exhibited at the Royal Glasgow Institute, from 1957. He was a member of the Royal Scottish Society of Painters in Watercolour. Ferguson also served as honorary secretary of the RGI for nine years and was also elected President of the Glasgow Art Club.

* FLORENCE JAMIESON RSW (SCOTTISH 1925 - 2019), SAND DUNES NEAR MORAR gouache on paper, signed, titled verso image size 35cm x 38cm, overall size 56cm x 59cm Mounted, framed and under glass. Note: Florence Jamieson was born in Glasgow in 1925. The area around Morar had special significance to Florence as she was evacuated to there (from Glasgow) during the war before moving to Galashiels where she became Head Girl of St Trinnean’s, the "progressive" school, which had relocated to Galashiels from Edinburgh at the outbreak of war. St Trinnean’s was the inspiration for Ronald Searle's tales of schoolgirl horrors, although he anglicised the name to St Trinian's. Florence attended Glasgow School of Art and subsequently taught Still Life painting there. She exhibited at the Royal Scottish Academy, Society of Scottish Artists, Royal Scottish Society of Painters in Watercolour and the Royal Glasgow Institute. She also held numerous joint and solo exhibitions mainly in Glasgow, Edinburgh (including at The Scottish Gallery), Perth and Ullapool. In 2014 she was one of four remaining living artists chosen to provide a selection of her work for the prestigious and widely reported ‘Glasgow Girls’ Exhibition at Kirkcudbright Town Hall. She received the Royal Scottish Academy Award and the Royal Glasgow Institute Torrance Award. Florence Jamieson's work is represented in various public collections including: The Kelvingrove Art Gallery, The Hunterian, The Scottish Arts Council, Gracefield Arts Centre (Dumfries) and The Scottish Fisheries Museum. Florence Jamieson's work rarely appears at auction but on 27th October 2005 Christie's The Scottish Sale (Assembly Rooms, Edinburgh) lot 231, a 37.5cm x 19cm gouache and watercolour "Moonlit Sea" by Florence Jamieson sold for £1020 (premium) having been estimated at £1000 - 1500.

* DAVID MCLEOD MARTIN RSW RGI (SCOTTISH 1922 - 2018), WINTER GARDEN, EAGLESHAM pastel on paper, signed, titled label verso image size 46cm x 62cm, overall size 72cm x 88cm Mounted, framed and under glass. Handwritten artist's label verso. Note: David sold his paintings through our auctions from time to time and was always kind, courteous and well liked. David McLeod Martin was born in Glasgow in 1922. He studied at Glasgow School of Art from 1940 to 1942 before serving in India with the Royal Air Force between 1942 and 1946. He returned to Glasgow School of Art in 1946 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. He married Isobel in 1949 and moved to Eaglesham where he lived for the rest of his life. He was elected a member of the Royal Glasgow Institute of Fine Arts in 1959 and the Royal Scottish Society of Painters in Watercolour in 1961. Between 1973 and his retirement in 1983, David Martin was Principal Teacher of Art at Hamilton Grammar School. After his retirement from teaching he concentrated full time on his painting. Numerous highly successful solo shows in London were to follow and he continued to enjoy commercial success and critical acclaim both at home and throughout the UK for the rest of his life. David Martin was widely regarded as one of the finest still life and landscape painters of his generation and his work is held in numerous public, corporate and notable private collections including The Arts Council of Scotland, The City of Edinburgh Art Collection, Perth Museum and Art Gallery, The Dick Institute, Kilmarnock, Robert Fleming and Company Ltd, Linklaters and Paine, Lord MacFarlane, The Earl of Moray, Credit Lyonnais Bank, Warburg Asset Management and the Clydesdale Bank. A major retrospective of his work was held at Perth Museum and Art Gallery in 1999.

Signed by the artist lower left together with a signed print of the same painting.James Dugdale; An original watercolour and gouache painting 'Flat Out - Great Bloke' featuring Perry McCarthy driving the Audi R8C at Le Mans, 1999, signed by the artist lower left and measuring 43 x 65cm, framed, mounted and glazed. Together with a signed print of the same painting, verso signed Perry McCarthy and James Dugdale, 41 x 59cm.Click here for more details and images

Rungaldier, IgnazPortrait der Gräfin Sophie von Martens, geb. von Wilczek(Graz 1799-1876 ebd.) Aquarell. Links unten sign. Ca. 17 x 13,5 cm; unter Glas ger. -Rahmen leicht beschädigt.Damenbildnis, Damenportrait, Miniaturmalerei, Portraitmalerei Rungaldier, IgnazPortrait of the Countess Sophie von Martens, née von Wilczek(Graz 1799-1876 ibid.) Watercolour painting. Signed lower left. Approx. 17 x 13.5 cm;framed under glass - frame slightly damaged.

Riepenhausen, Johannes oder Franz (Attrib.)Caritas(Göttingen 1787-1860 Rom; Göttingen 1786-1831 Rom) Als Personifikation der christlichenNächstenliebe in Gestalt einer Mutter mit zwei Kindern. Aquarell. 17,7 x 12,7 cm; in einemzeitgenössischen, versilberten Tabernakelrahmen. - Das Genre und die Nähe zu derempfindsamen Malerei der Nazarener erinnern an die Gebrüder Riepenhausen. Wir danken Prof.Börsch-Suppan für die kunsthistorische Einordnung des Werks.Allegorie Riepenhausen, Johannes or Franz - Attributed toCaritas(Göttingen 1787-1860 Rome; Göttingen 1786-1831 Rome) As a personification of Christiancharity in the shape of a mother with two children. Watercolour. 17,7 x 12,7 cm; in acontemporary silvered tabernacle frame. - The genre and the proximity to the sensitivepainting of the Nazarenes are reminiscent of the Riepenhausen brothers. We thank Prof.Börsch-Suppan for the art-historical classification of the work.

China - - Sammlung von 8 prachtvollen Original-Zeichnungen mit floraler Motivik. China, 19. Jh. Je Gouache und Aquarelle auf Reispapier, teilweise weiß gehöht. Blattmaße je ca 35,5 x 28 cm. Je punktuell auf Unterlage und unter Passepartout montiert. Sehr zarte und sorgfältige Darstellungen die durch ihre klaren Konturen und feinen Farbverläufe stark an die chinesiche Gongbi-Malerei erinnern. Die farbleuchtenden Zeichnungen zeigen eine große Vielfalt an exotisches Pflanzen- und Vogelarten und zeugen von einem künstlerisch versierten Spiel zwischen bemalter und unbemalter Fläche. - Papier tls. etwas knickspurig, partiell mit kleinen Anschmutzungen. Farben in leuchtendem Zustand. China - Collection of 8 magnificent original drawings with floral motifs. China, 19th century. Each gouache and watercolour on rice paper, partly heightened with white. Each mounted on a backing and under passepartout. - Very delicate and careful depictions which strongly remind of the Chinese Gongbi painting due to their clear contours and fine colour gradients. The colourful drawings show a great variety of exotic plants and birds and testify to an artistically skilled play between painted and unpainted surfaces. - Paper partly a little bit creased, partly with small soiling. Colours in bright condition.

A stylised African painting, oil on canvas depicting a lady and two children, an oil on board of poppies, a watercolour of a castle, possibly Orford and another, BERYL R. MOTT: "Corner of a Farmyard". All framed, watercolours framed and glazed

Eric Craddy - Original Painting - Watercolour. Signed and dated bottom left. Farme is 72cm wide.

Melvyn R. J. Brinkley (20th/21st century) - 'Shingle Street', pencil, pen, ink and watercolour; together with various other watercolours including work by Gordon Smith entitled 'Achnahaird Bay and The Peaks of The Inverpolly Forest', a small early 19th century watercolour depicting a man seated beside a lake with boats and mountains beyond, possibly after or in the style of Thomas Girtin, 4.75" x 7.5", an oil painting of flowers signed E. Court, a print after Corot also other modern works after Michael Cooper, a pencil drawing of a huntsman on horseback jumping  a stream, initialled R.L.H, oil paintings after Sir Joshua Reynolds, contained within decorative gilt plaster and wooden frames one with a circular veneered inset, an oil painting of roses initialled KP and dated 1906, other furnishing prints and decorative pictures, various sizes (a collection) (five boxes)

A 20th Century Chinese watercolour scroll painting depicting flowers

Modern watercolour and pastel painting 'Ice & Light" by Teresa Pateman in contemporary cream frame (signed by the artist)

Mixed pictures to include Rosemary Pettet aquatint, Leafy Dumas print of Essex, Cyril Boler watercolour, Linda Di Mizio oil painting and others together with two mirrors

19th century collectables to include three silhouettes, a crest painting watercolour and a mahogany and marquetry candle stand in the form of a table

19th Century school, watercolour study of a figure walking along a country path; a late 19th Century school watercolour study of a busy continental street scene; a small watercolour study of a continental port, signed W.Payne; a rosewood framed etching "Le Chariot"; and a 19th Century Dutch style reverse painting on glass (5)

Kate Elizabeth Olver (1881-1960) - Five sketches - Portrait of a young lady, pencil, 18.5 x 13 cm; 'Dance a baby diddy', watercolour, 10.5 x 8 cm; boy with mandolin, pencil, 12.5 x 9 cm; seated child painting, pen and ink, 7.5 x 5 cm; toys, pen and ink, 6 x 8.5 cm (5)

Lesley Fotherby (b 1946) - 'Little mouse', pencil, signed with initials, 5 x 11.5 cmIll - Lesley Fotherby, Cats: Drawing and painting in watercolour, London, Michael O'Mara Books Limited, EndpapersProv - Chris Beetles (label to verso)

6 pictures – 2 signed ltd edition prints ‘The Holly Mill’ and ‘Supper Time’ by Rob Roberts, images 3.5” x 4.5”, Headrow Gallery, Leeds. 2 signed drawings of cats by Hancock, Oakwood Gallery, Leeds. Painting of trees by S. Ritzfish and watercolour ‘Daisies’ by Barbara Atkin,1987

After Vernon Ward : Mallard Rising, reproduction in colours, 30 cm x 40 cm, together with a watercolour drawing depicting a castle, an oil painting depicting two poppies, a watercolour depicting a terraced garden, and a colour print after Philipp Zilchen depicting Winterabend in Holland, all five parts framed. (5)

A Chinese monochrome watercolour painting on fan leaf, of a mountainous river landscape, inscribed with calligraphy & signed with seal marks; 8¾” x 19”, framed & glazed.

An original signed Winifred Walker watercolour painting- flowers in a metallic vase , original wood frame , 57x70cm

Framed WATERCOLOUR PAINTING of Cockwood Creek by the artist Ann Boultbee. 52 x 43cm

PEN AND WATERCOLOUR PAINTING of North Bovey, Devon. Artist: Elizabeth Foley. 38 x 34 cm

Peter Gilman (British 1928-1984): 'Towards Whitby', watercolour signed, titled and dated 1981 on exhibition label verso 12cm x 17cm Notes: illustrated in 'Peter Gilman: Painting East Anglia and Beyond' p.85

A MID 19TH CENTURY MINIATURE PORTRAIT PAINTING, a young gentleman wearing a blue bow tie, watercolour on paper, cased, image size; 5.5cm x 4cm

BRITISH SCHOOL 'ST. Paul's Cathedral, seen from the far side of the Thames', watercolour painting, monogrammed, 15cm x 8.5cm, gilt framed, mounted, and glazed

19TH CENTURY BRITISH SCHOOL 'Lady wearing a shawl', watercolour painting, monogrammed, 30cm x 25cm, in ornate gilt frame

ARR * Clarke (Graham, 1941-). Internal Memo, circa 1970s, black ink and watercolour on paper, depicting the artist at work painting a large barcode and saying 'Hope that Chad Wotsisname doesn't see this one Alex, it'll be everywhere...', signed lower right, 280 x 315 mm (11 x 12.25 ins) mount aperture, framed and glazed (465 x 485 mm), with title inscribed on verso, together with: Peapot, circa 1960s-1970s, watercolour on paper, signed lower right, 180 x 215 mm (7 x 8.5 ins) mount aperture, framed and glazed (380 x 415 mm), Sloman and Pettitt, Maidstone, framer's label on versoQty: (2)NOTESInternal Memo seems to be portraying a private joke between Graham Clarke and his agent Alex Gerrard, who became his agent in 1973. It appears they believed that another artist was allegedly copying Graham's style at the time of this painting.

Michael Haswell (1931-2020) Signed modernist/fauvist watercolour painting of a reclining female nude under an apple tree. Frame size approx 33 1/4 x 28 1/2 inches (Glazed)

GEORGE SPENCER WATSON (1869-1934) 'Near Corfe' probably a view from the garden at Dunshay Manor, with Corfe Castle visible in the distance, watercolour and pencil, 25.5cm x 37cmExhibited: The Artist's Memorial Exhibition, The Fine Art Society, 148 New Bond Street, London, June 1934, no. 42George Spencer Watson R.O.I., R.P., A.R.A., R.A. was an English portrait artist of the late romantic school who sometimes worked in the style of the Italian Renaissance. He studied at the Royal Academy Schools from 1889, and exhibited at the Royal Academy from 1891. He won Royal Academy Schools Silver Medals in 1889 and 1891, and the Landseer Scholarship in 1892. He was elected to the Royal Institute of Oil Painters (ROI) in 1900, Royal Society of Portrait Painters (RP) in 1904, Associate of the Royal Academy in 1923, and a Member of the Royal Academy (RA) in 1932. His work was also part of the painting event in the art competition at the 1928 Summer Olympics. In 1909 he married Hilda Mary Gardiner, a dancer and mime artist, and follower of the actor Edward Gordon Craig. They had a daughter, Mary Spencer Watson (1913–2006), who became a sculptor. In the year of 1923 he bought Dunshay Manor in the hills of the Isle of Purbeck, after already having spent holidays in nearby Swanage. He died in London and a memorial exhibition was held at the Fine Art Society in the same year. There is a memorial to him in the north vestibule of St James's Church, Piccadilly.

ELLIOT HENRY/HAIGH MARTEN (FL. 1886-1910) 'A Dorset Coastline' signed lower left, watercolour, 26.5cm x 37cmElliott H Marten was born in Calverley, Bradford, Yorkshire in 1866. He was living in Bradford until the Census of 1881 and he exhibited at the Yorkshire Union of Artists in 1888, after marrying in Bradford in 1887. By 1890 he was advertising his Academy of Painting at 59 High Street, Chelmsford, Essex, where he was listed as Art Master and Medallist S. Kensington, presumably the Royal Academy Schools in South Kensington. Although a prolific watercolourist, he exhibited very little. According to the Dictionary of British Artists (Collectors' Club), he exhibited 1 painting entitled 'Autumn Leaves' at the Royal Academy in 1886 from an address in Hawick in North Britain (confirmed by Graves Dictionary) and 5 at the Dudley Gallery. He is also listed in the Dictionary of Victorian Painters by Christopher Wood, The Dictionary of British Watercolour Artists by H. Mallalieu, the Dictionary of Scottish Painters and the Yorkshire Union of Artists by Dennis Child. Although he painted all over the country, his favourite locations were Scotland, the Lake District, Sussex and of course Dorset

ELLIOT HENRY/HAIGH MARTEN (FL. 1886-1910) 'On the cliffs near Lulworth, Dorset' signed lower right, watercolour, 23cm x 32cmElliott H Marten was born in Calverley, Bradford, Yorkshire in 1866. He was living in Bradford until the Census of 1881 and he exhibited at the Yorkshire Union of Artists in 1888, after marrying in Bradford in 1887. By 1890 he was advertising his Academy of Painting at 59 High Street, Chelmsford, Essex, where he was listed as Art Master and Medallist S. Kensington, presumably the Royal Academy Schools in South Kensington. Although a prolific watercolourist, he exhibited very little. According to the Dictionary of British Artists (Collectors' Club), he exhibited 1 painting entitled 'Autumn Leaves' at the Royal Academy in 1886 from an address in Hawick in North Britain (confirmed by Graves Dictionary) and 5 at the Dudley Gallery. He is also listed in the Dictionary of Victorian Painters by Christopher Wood, The Dictionary of British Watercolour Artists by H. Mallalieu, the Dictionary of Scottish Painters and the Yorkshire Union of Artists by Dennis Child. Although he painted all over the country, his favourite locations were Scotland, the Lake District, Sussex and of course Dorset

ELLIOT HENRY/HAIGH MARTEN (FL. 1886-1910) 'A Bay Near Lulworth' signed and titled in pencil on a sheet affixed verso, watercolour, 34cm x 52cmElliott H Marten was born in Calverley, Bradford, Yorkshire in 1866. He was living in Bradford until the Census of 1881 and he exhibited at the Yorkshire Union of Artists in 1888, after marrying in Bradford in 1887. By 1890 he was advertising his Academy of Painting at 59 High Street, Chelmsford, Essex, where he was listed as Art Master and Medallist S. Kensington, presumably the Royal Academy Schools in South Kensington. Although a prolific watercolourist, he exhibited very little. According to the Dictionary of British Artists (Collectors' Club), he exhibited 1 painting entitled 'Autumn Leaves' at the Royal Academy in 1886 from an address in Hawick in North Britain (confirmed by Graves Dictionary) and 5 at the Dudley Gallery. He is also listed in the Dictionary of Victorian Painters by Christopher Wood, The Dictionary of British Watercolour Artists by H. Mallalieu, the Dictionary of Scottish Painters and the Yorkshire Union of Artists by Dennis Child. Although he painted all over the country, his favourite locations were Scotland, the Lake District, Sussex and of course Dorset

ELLIOT HENRY/HAIGH MARTEN (FL. 1886-1910) 'Near East Lulworth' coastal landscape with sheep, signed lower right, watercolour, 26cm x 35cmElliott H Marten was born in Calverley, Bradford, Yorkshire in 1866. He was living in Bradford until the Census of 1881 and he exhibited at the Yorkshire Union of Artists in 1888, after marrying in Bradford in 1887. By 1890 he was advertising his Academy of Painting at 59 High Street, Chelmsford, Essex, where he was listed as Art Master and Medallist S. Kensington, presumably the Royal Academy Schools in South Kensington. Although a prolific watercolourist, he exhibited very little. According to the Dictionary of British Artists (Collectors' Club), he exhibited 1 painting entitled 'Autumn Leaves' at the Royal Academy in 1886 from an address in Hawick in North Britain (confirmed by Graves Dictionary) and 5 at the Dudley Gallery. He is also listed in the Dictionary of Victorian Painters by Christopher Wood, The Dictionary of British Watercolour Artists by H. Mallalieu, the Dictionary of Scottish Painters and the Yorkshire Union of Artists by Dennis Child. Although he painted all over the country, his favourite locations were Scotland, the Lake District, Sussex and of course Dorset

ELLIOT HENRY/HAIGH MARTEN (FL. 1886-1910) A Dorset Coastline with sheep grazing near cliff edges to the foreground, signed lower right, watercolour, 35cm x 53cmElliott H Marten was born in Calverley, Bradford, Yorkshire in 1866. He was living in Bradford until the Census of 1881 and he exhibited at the Yorkshire Union of Artists in 1888, after marrying in Bradford in 1887. By 1890 he was advertising his Academy of Painting at 59 High Street, Chelmsford, Essex, where he was listed as Art Master and Medallist S. Kensington, presumably the Royal Academy Schools in South Kensington. Although a prolific watercolourist, he exhibited very little. According to the Dictionary of British Artists (Collectors' Club), he exhibited 1 painting entitled 'Autumn Leaves' at the Royal Academy in 1886 from an address in Hawick in North Britain (confirmed by Graves Dictionary) and 5 at the Dudley Gallery. He is also listed in the Dictionary of Victorian Painters by Christopher Wood, The Dictionary of British Watercolour Artists by H. Mallalieu, the Dictionary of Scottish Painters and the Yorkshire Union of Artists by Dennis Child. Although he painted all over the country, his favourite locations were Scotland, the Lake District, Sussex and of course Dorset

*ARTHUR ROYCE BRADBURY (1892-1977) 'Poole Harbour' signed lower left, watercolour, 27cm x 34cm Arthur Royce Bradbury was born on the 17th September 1892 in Preston, Lancashire. He specialised in painting portraits, landscapes and marines on oil, watercolour and pastel, and was an accomplished etcher and teacher at the Pembroke Lodge School and Wimbome Grammar School, Dorset

Lilian BLAND (1878-1971) (Aviator)Tropical Fish Oil on board Signed Inscribed to verso 26 x 29cmTogether with a tropical fish watercolour by the same handInitialledInscribed to verso 36 x 25.5cmProvenance:Gifted to the vendor's father who was a close friend of Bland.Lilian Bland (1878-1971)In 1910, when Amelia Erhart was still only twelve years old, the pioneering Anglo-Irish aviator, photographer, journalist, jockey and motor enthusiast Lilian Bland made the first flight in her bi-plane the 'Mayfly,' aptly and ironically named by Bland because "It may fly, it may not..." This was all the more remarkable because Bland had also designed and built the plane herself, the first woman in the world to do so. Strangely, she is barely mentioned in the annals of aviation history and she remains virtually unknown to the wider public.Born in Kent in 1878, b​e​tween 1900 and 1906 (after the death of her mother) Bland moved with her father to the family home in Carnmoney in Northern Ireland to live with her aunt. Bland scandalised her neighbours, she smoked, wore trousers, was an excellent and knowledgable horsewoman, hunted hare and fox, fished, practiced jujitsu, was a crack shot and never had any interest in the Edwardian pursuits of a society lady—they had empty lives full of empty talk, she once said. She was the first woman to be granted a jockey's licence in Ireland and applied repeatedly to ride in the Grand National, but was refused on account of her sex. It is interesting to note that it was 1977 before women were finally allowed to compete in the National and 2021 before there was a female winner, which gives a sense of just how far ahead of her time Bland was.Already a successful sports journalist and press photographer for various London newspapers, her enthusiasm for flight was inspired by Blériot's achievements and her studies of birds, and in 1909 she set to work designing and building her own plane. A page dedicated to Bland at the Women’s Museum of Ireland describes the meticulous process by which she worked on building the Mayfly. She initially created it as a glider, testing its weight capacity and drawing on her knowledge of avian biology to design the wings. Eventually, by 1910 the Mayfly was capable of flying to a height of 30 feet and traveling for a quarter of a mile. Her father was considerably alarmed by these antics and persuaded her to give up flying in return for a motor car. It was a successful bribe. Delighted by her new Model T Ford, bought in Dublin, Bland convinced the delivery driver to let her drive it home and of course she was a natural. Constantly breaking boundaries, she went on to set up Belfast’s first Ford dealership. She never returned to flying, but next married her cousin Charles Loftus Bland in 1911, settling in Canada where they hacked a home out of the wilderness. They had two children, Patricia and Jackie. Tragically, Patricia died an agonising death from a tetanus infection when just 16. Jackie, a commercial fisherman, drowned in a boating accident off Vancouver Island in 1962. The Bland's marriage did not survive the grief of Patricia's death and Lilian returned to England in 1935, living first in Kent then retiring to Sennen in Cornwall in 1955, where by her own account she devoted the rest of her life to gambling, painting and gardening. In a 1966 interview with Penzance reporter Frank Ruhrmund, she described her solitary life looking out to sea from her home in Maria's Lane in Sennen: "I love it. I keep busy, I have my plants, I paint and I gamble. Very occasionally I watch television at a neighbour’s house, but only the horse racing – I back five horses a day, with success, I may add and, great fun!”She died in 1971 aged 92, and is buried in Sennen.