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* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),POPPIES IN VICTORIAN JUGoil on board, signed and dated '89, titled label versoimage size 91cm x 59cm, overall size 109cm x 79cm Framed.Handwritten artist's label verso.Note: 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 clifftop 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 oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972),GRAN VIAwatercolour on paperimage size 24cm x 33cm, overall size 40cm x 49cm Mounted, framed and under glass. Label verso: The Late John Bulloch Souter Archive, Rendezvous Gallery, Aberdeen.Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),A TASTE OF FRANCEoil on board, signedimage size 24cm x 17cm, overall size 42cm x 34cm Framed.Note: 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 clifftop 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 oil sold for £3000 (hammer) which, not for the first time in recent years, set a new auction record for a painting by William Birnie.

* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012),UNTITLEDoil on board, signedimage size 91cm x 76cm, overall size 110cm x 96cm Framed and under glass.Note: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.

* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012),ELSAoil on board, signed, titled label versoimage size 16cm x 38cm, overall size 37cm x 60cm Framed and under glass. Handwritten artist's label verso.Note: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.

* GEOFF SQUIRE RSA RSW RGI (BRITISH 1923 - 2012),PROFILE OF GIRL WITH FLOWERSoil on canvas, signed, titled label versoimage size 77cm x 57cm, overall size 92cm x 72cm Framed and under glass.Handwritten artist's label verso.Note: Geoff Squire was a Senior Lecturer at the Glasgow School of Art. He held the position of Governor at Glasgow from 1988-91. He was an inspirational and influential teacher and his students included Alison Watt, John Byrne and Steven Conroy. Painting in oil, acrylic, watercolour and working in pastel, his work has been exhibited extensively and appears in world-wide collections including the RSA, Royal and Ancient Golf Club in St Andrews, New College, Edinburgh and in the collection of HRH The Princess D Maria Cristina, Duchess of Braganza.

* CECIL ARTHUR HUNT VPRWS RBA (BRITISH 1873 - 1965),SOUND OF SLEAT, ON THE WAY TO SKYE watercolour on paper, signed, titled label versoimage size 25cm x 35cm, overall size 46cm x 56cm Mounted, framed and under glass. Label verso: Anthony Woodd Gallery Ltd., Edinburgh.Note: Cecil Arthur Hunt was born in Torquay, Devon, on 8 March 1873, the second of three children of the highly regarded writer and geologist, Arthur Roope Hunt, and his wife, Sarah (née Gumbleton), who was born in Waterford, Ireland. He was educated at Winchester and Trinity College, Cambridge, studying Classics and Law, and being called to the Bar in 1899 (as had his father before him). He treated painting and writing as serious pastimes until 1925, when he was elected to the full membership of the Royal Society of Painters in Water-Colours. He then relinquished his legal career to become a professional painter. Hunt had first exhibited in London in 1900, at the Alpine Club Galleries, and had held his first major show a year later, alongside E Home Bruce at the Ryder Gallery. From the first, he established himself as an atmospheric painter of mountains, especially of the Alps and Dolomites. However, he was soon accepted as a master of a great variety of topographies, for he exhibited the products of his wide travels frequently and extensively. Favourite destinations included the West Country, the West Coast of Scotland, the Rhône Valley, Northern Italy, Rome and Taormina. In 1903, Hunt married Phyllis Lucas, and they would have two sons. From 1911, they lived at Mallord House, on the corner of Mallord Street and Old Church Street, Chelsea, which was especially designed by Ralph Knott to include a large studio on the ground floor. During the summer months, he and his family retreated to the farm estate of Foxworthy, on the edge of Dartmoor, in Devon. Hunt showed work regularly at the Royal Academy of Arts (from 1912), the Royal Society of British Artists (from 1914) and the Royal Society of Painters in Water-Colours (from 1918). He was elected a member of the Royal Society of British Artists in 1914, an associate of the RWS in 1919, and a full member six years later. He acted as the Vice-President of the RWS for a three-year period from 1930. His many substantial solo shows included six at the Fine Art Society (1919-34) and one at Colnaghi’s (1945). Following his death on 5 August 1965, he was the subject of a large memorial show at the Royal Society of Painters in Water-Colours. Chris Beetles Gallery (London) mounted a large scale retrospective exhibition in 1996 at his London gallery, on the exact site of the artist’s first substantial show in 1901. His work is represented in the collection of the Royal Watercolour Society and numerous public collections, including the V&A.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016),HIGH SEA FROM ISLAYwatercolour on paper, signed, titled label versoimage size 30cm x 42cm, overall size 56cm x 67cm Mounted, framed and under glass.Artist's label verso.Note: Bill Wright's talent first became evident when he was a boy, drawing endlessly for amusement while bedbound with illness. He went on to study painting at Glasgow School of Art and became an award-winning watercolourist, constantly inspired by was seascape and ever-changing sky on the Kintyre peninsula where he had a second home. Glasgow-born Wright, the son of a shipyard plater, was brought up in Partick and started his schooling at the city’s Dowanhill Primary before being evacuated to Dunoon during the Second World War. After returning home he attended Hyndland Senior Secondary and despite being discouraged by his parents, who would have preferred him to have a “proper job”, in 1949 he began his studies at Glasgow School of Art. They were interrupted by national service – a duty he felt hindered the progression of his art career. He served at Catterick army garrison but was a pacifist who abhorred war and dismissed the opportunity to be promoted to Sergeant as an army career held no interest. His first teaching post was at East Park School in Glasgow’s Maryhill. He then moved in 1965 to St Patrick’s High School in Dumbarton where he spent two years before becoming art adviser for the area at the age of 36. Over the next two decades he fostered the idea of instilling a cultural interest in art among pupils. He formed working groups to reform teaching of first and second-year students, encouraged forward-looking principal teachers and recruited many young teachers. His ethos was that teachers were not just there to create artists but to give all children a good art experience. He also established a residential art course for school children, at the Pirniehall residential educational facility at Croftamie in Dunbartonshire, where youngsters from different backgrounds could investigate the idea of furthering an art career through experiencing a range of different mediums in an art camp environment. And he is said to have been instrumental in encouraging the implementation of Scotland’s Standard Grade art and design qualification. However, he suffered from the chronic arthritic condition ankylosing spondylitis which, by the age of 55, forced him to take early retirement from his post in the education department of Strathclyde Regional Council. Meanwhile, as he had strived to enthuse youngsters with his own passion for art, he had been elected, in 1977, to the Royal Scottish Society of Painters in Watercolour. A member of the Glasgow Arts Club for many years, he was also an elected member of the Glasgow Institute of Fine Arts and Paisley Art Institute, served as president of the Scottish Artists’ Benevolent Association for 14 years and was a Scottish Arts Council lecturer, touring the country discussing art. But perhaps his own greatest inspiration was the view from a cottage he stumbled upon half a century ago, seven miles from Campbeltown on the Mull of Kintyre. He rented the property at Bellochantuy and set up a studio there where he drew on the vistas stretching 180 degrees, encompassing sea, beach, rocks and sky. He was utterly smitten by the area and was ultimately bequeathed the cottage by the owner who had become a close family friend. Over the years he came to know the area intimately and was fascinated by the constantly changing moods of the sea and light of the sky which formed the majority of his output. One large body of work, "Towards Islay", focused on the view from the back of the cottage. He captured the patterns and waves of the sea, sometimes adding a bird, limpit, mermaid’s purse, rock lines or some seaweed. But at times his works were very abstract and symbolic, concentrating on themes of nature and transience. He was hung in all the major shows in Scotland and in galleries across the country from Aberdeenshire to Edinburgh, Glasgow and south of the border. His work also features in public collections of Stirling and Strathclyde Universities, HRH The Duke of Edinburgh and the Educational Institute of Scotland. And he was recognised with The Laing Prize for Landscape and Seascape and the RSW’s Sir William Gillies Award.

Jenny Sanders (20th/21st century) - "The blue boat, Venice", signed artist proof, limited edition print 43/50, also inscribed with the title, coloured etching, 11.75" x 16.75", together with eight further pictures including a small etching by Frank Paton (19th/20th century) "Notice to quit" three terriers beside a rabbit hole, a ferret nearby, a watercolour, village scene signed A Langford. a farmer with shire horses, a girl on a pavement nearby and chickens in the foreground, continental oil painting signed Corder Portrait by Frank Mills, Katherine, black and white silhouette depicting a number of various Dickensian figures on one sheet, and three Persian or Indian gouaches of figurative subjects, including one male figure seated upon a camel another girl feeding two peacocks and a further girl standing beside trees also feeding a single peacock, various sizes (9)

Fore-edge Painting. Falconer (William, A Sailor) & Clarke (J.S., F.R.S., Vicar of Preston and Librarian to the Prince), The Shipwreck: A Poem [...] with a Life of the Author, London: William Miller, 1810, defective contents wormed throughout, however not affecting painting, finely bound in contemporary Neoclassical vellum gilt over boards by B. Frye of Halifax, his ticket to ffep, the covers' outer borders outlined with a double-fillet between a meandering Greek key border, its angles ornamented with floral bosses, the whole of which is picked-out in navy blue, and enclosing an inner-border of foliage, the flat spine gilt-tooled with urns and and foliate swags, lettered and dated labels, all edges gilt, the fore-edge revealing a contemporary picture of a British man-of-war entering a harbour, executed in watercolour, pink and purple marbled endpapers, 8vo (18.5cm x 12cm).  Sold as a binding and not subject to return. Provenance: 1) Charles Clegg, early 20th century pictorial bookplate to recto pastedown; 2) C.W. Briggs, his manuscript inscription to ffep.

An antique rosewood and gilt lined framed watercolour landscape painting in the 19th Century naive style, but with TV aerial to cottage roof

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies I".1988.Watercolour on paper.Signed with stamp in the upper margin.With label on the back of the gallery Fernando Alcolea, Barcelona.Size: 16 x 20 cm; 33 x 38 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the stroke and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.

WALASSE TING (Shanghai, China, 1929 - New York, USA, 2010)."Deux amies II". 1980's.Watercolour on paper.Signed with stamp in the left margin.Size: 16 x 20 cm; 31 x 36 cm (frame).In this watercolour, Ting combines a colourist language, characterised by the dialogue between the line and the colour stain, with a naturalistic vision that alludes to the Chinese pictorial tradition, avoiding the spatial representation typical of European stylistic patterns. The line of the representation shows an expressive and meditated line, based on different aspects and nuances based on traditional Chinese ink painting. However, the treatment of colour through large fields composes a personal, erotic and contemporary image.Chinese artist and poet Ting studied briefly at the Shanghai Art Academy before leaving China in 1946 to move to Hong Kong, where he exhibited some of his watercolours in a local bookshop. In 1950, he travelled to France and eventually arrived in Paris without money, friends or accommodation. He lived as a bohemian artist for six years, absorbing the artistic styles of the city and exhibiting for the first time pieces in which he introduced features of Western art, based especially on the Expressionist movement and the works of Picasso. In 1958 Ting arrived in New York, coinciding with the beginning of a peak period for the Abstract Expressionist movement. Unlike in Paris, his work achieved remarkable artistic recognition. His paintings at that time were mainly poetic abstractions influenced by the aesthetic patterns of traditional Chinese artists. It was from the 1970s onwards that Ting developed his most distinctive style using Chinese calligraphic brushstrokes to define contours and fill in flat areas of colour with brightly coloured acrylic paint. After more than 20 years in New York, Ting moved to Amsterdam, where he owned a large studio, where he worked until 2002, when he suffered a serious illness that retired him from the art world, and in 1970 he was awarded the Guggenheim Prize for his drawings. Today his works are represented in important art centres such as the Tate Gallery in London, the Metropolitan Museum and the Guggenheim in New York, the Centre Pompidou in Paris, the Hong Kong Museum of Art and other collections around the world.

ANTONI CLAVÉ I SANMARTÍ (Barcelona, 1913 - Saint Tropez, France, 2005)."Guerrier".Mixed media (collage, oil and watercolour) on paper.Signed in the lower right corner.Size: 70 x 50 cm; 90 x 70 cm (frame).In parallel to his activity in the field of theatrical scenography, between approximately the mid-1940s and mid-1950s, Antoni Clavé began an illustration project for "Gargatú" which led him to become familiar with a medieval iconography that he would develop in his famous series of warriors, kings, queens and knights. In parallel with the evolution of his plastic language, these images of medieval characters started from a certain realism and moved increasingly closer to abstraction. Thus, the figures lost precision and form, giving way to line and colour in painting, and to the use of irregular textures and volumes in sculpture. Nevertheless, as in the rest of his work, these figures of warriors and kings always retain a figurative element.Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Gargal", 1986.Watercolour, pencil and crayon on paper.Signed and dated in the lower left corner.With Joan Prats Gallery stamp on the back.Provenance: Private collection.Measurements: 32.5 x 69 cm; 48.5 x 78 cm (frame).After a brief figurative period, the 1950s gave way to a more schematic and structured conception of reality, with a clearly abstractionist slant, which he would cultivate throughout the rest of his life. During the 1980s and as his work progressed, it became increasingly closer to plastic poetry, filled with sensations and emotions, which can be observed in signs that veiledly refer us to everyday objects. Likewise, there is a clear protagonism of colour, which now fills the scenes, creating delicate and enveloping atmospheres.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

A 1961 pencil and watercolour signed and dated by Saunders depicting a lady in her wedding outfit with a pageboy in the background and a painting on the wall. Location:RWB

Signed oil painting of a Scottish scene, watercolour of St Mary's church in Narford and East Winch church picture etc 

CHINESE SCHOOL LANDSCAPE PAINTING  With red capped cranes amongst pine and before a waterfall, watercolour, 90 x 176cm Condition Report:Available upon request

FOLIO CONTAINING A GOOD WATERCOLOUR VIEW OF LAKE LUGANO AND DATED 1872 WITH NOTES TO REVERSE TOGETHER WITH A WATERCOLOUR OF MOTHER AND CHILD WALKING ON THE COAST AND FOUR OTHER WATERCOLOURS OF LANDSCAPES AND A STILL LIFE. ALSO OIL PAINTING ON BOARD, HEAD STUDY OF A SIAMESE CAT, SIGNED INDISTINCTLY, LARGEST 17” X 13” [7]

AN INDIAN PAINTING OF KRISHNA AND SUDAMColeridge Collection, 19th/20th century Watercolour on paper, inside a gilt frame and foliate spandrels, 21cm by 13.5cm, mounted, framed and glazedProvenance: The Anthony and Marietta Coleridge Collection Condition Report: Minor losses of pigment

E Charles Simpson, Barnard Castle, watercolour, Transporter Bridge, oil painting, David Cemmick, Isle of Skye wildlife study sheet and set of four bid studies (7)

A watercolour painting by Alfred Richardson Barber depicting a rural landscape with numerous sheep to the foreground, signed 7¼” x 13¼”; & a pair of oleograph prints after coulter animal scenes, 17” x 23½”, all framed.

A rural landscape by Lee Reynolds, oil on canvas, framed, 34” x 45¼”; another contemporary oil on canvas signed “Van Stafford”, framed, 40½” x 50½”; a watercolour painting of a country garden signed “PH PATAT”, 20” x 14”; & a still life study of flowers signed “Devlin”, oil on canvas, 24” x 20”.

ZHAO SHAPANG MARK FLORAL FRAMED WATERCOLOUR (1889-1937) CALIGRAPHY PAINTING

William Collingwood (1819-1903), Figures in Mountainous Alpine Landscape, watercolour on paper. Signed and dated 1880 lower left, framed, 35cm x 24cm exc. frame Condition Report: Unexamined out of frame. Some minor small patches of brown discolouration to painting and more noticeable discolouration to mount, overall in reasonable order.

A vintage 20th century Balinese painting. Depicting a figure bathing, others carrying baskets and pots before a temple within mountainous landscape, in watercolour and ink on paper, 30cm x 40cm exc. frame

Three various unframed monochrome engravings; together with a mid-19th century miniature crest watercolour, 7 x 6.5cm; and a German armorial painting, probably 18th century, 11.5 x 10cm (5)

MANNER OF WILLIAM DRUMMOND BONE,STILL LIFE OF A POTTED PLANT,Watercolour, 55cm x 45cm, framed and under glass, along with a modern Spanish oil painting signed Emariza (2)

George Hamilton Constantine (British 1878-1967) "Haymaking. Mayfields" Signed and titled, watercolour.18cm x 26.5cm (7in x 10.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours. There are some minor spots of foxing across the paper and some very light time staining and browning around the edges of the paper near the mount board. The painting is ornately framed and glazed.

§ John Knapp-Fisher (British, 1931-2015) Three Fish, 2003, studio print signature bottom right, 84/850, mounted and framed. Measurements 6.3 x 33.7 cm, framed measurements 28.7 x 53.4 cmJohn Knapp-Fisher (1931-2015) was a British post-war artist who is heavily associated with Pembrokeshire. He began his career in Graphic and exhibition design before becoming a full time artist in 1960. He is best known for his dark, dramatic watercolour paintings and his muted colour palette, often opting for earthy colours with simple dabs of primary as they emerge from the dark wash. Knapp-Fisher favoured subjects such as trees, bogs, hedgerows and the undergrowth over flowers, and was a fervent believer in painting en plein, often seeking his inspiration in his beloved Pembrokeshire. Although he did paint in oil, the majority of his work was created in his preferred medium of watercolour, and he is known for his characteristic letter-box shape paintings. He had a life-long love for the sea, building and sailing his own boats, even spending some years living upon one of his crafts, with seascapes and paintings of his daily catch becoming regular features within his artwork. Knapp-Fisher was elected to the Royal Cambrian Academy in 1992 and has a strong following particularly across the UK and South Africa.

A large 20th century watercolour painting of Collioure being framed and glazed, signed Lozano. Measures approx. 56cm x 63cm.

A 19th century watercolour Italian landscape painting. Believed bay of Naples with scenes of sailing ships and mountains to the background. Mounted, framed and glazed. Unsigned. Measures 88cm x 28cm ( picture) 

THOMAS SIDNEY COOPER - WATERCOLOUR - CATTLE & SHEEP RESTING - 36" WIDTH X 24" HEIGHT SIGNED AT BOTTOM - T.SIDENY COOPER R.A 1853 - THE PAINTING HAS NEVER BEEN REMOVED FROM THE FRAME.

A 19TH CENTURY MARITIME OIL ON CANVAS (damaged), another painting 'Andre de Moller', and a miniature watercolour landscape by James Nairne (3)

AFTER TROUEIL, PORTRAIT OF SIR FRANCIS OTTLEY AND FAMILY OF PITCHFORD HALL, SHROPSHIRE coloured engraving after the painting of 1636, c1810, 46 x 42cm, with The Lily, a late Victorian botanical watercolour, artist unknown, 39 x 53cm

An unframed oil painting, study of young child; and an unframed watercolour study of a warrior

A framed and mounted watercolour of the Glenbervie shipping vessel, titled to the lower left, with amateur landscape painting verso, dimensions in frame 35cm by 50cm

A Cunard limited edition collector's plate, depicting the Queen Elizabeth II on her first voyage in 1969, a scene taken from the specially commissioned watercolour- painting by D John Wood, number 17 of 200 & coming with certificate and box. Provenance: Sydney Logan Collection

Victorian School watercolour, girl with a hoop, in a landscape with trees and a stream, painting measures 48cm x 28cm

George Richmond (1809-1896) - Watercolour portrait of a gentleman, signed to lower left, framed & glazed, painting measures 37cm x 28cm

Muller - Early 19th Century watercolour, figures on a country path, 12cm x 19cm, framed & glazed (tear to painting)

Collection of eight paintings to include a Thomas Cowlishaw (exh. 1891-1901) watercolour of Lake Windermere, 53cm x 41cm, late 20th century oil on board 'Red Sail Leaving Harbour', signed E Korteling, 44cm x 35cm, 20th century watercolour of 'A Surrey Farmstead', signed Fred Horley, watercolour rural landscape scene signed 'Dean Walker'?, three other watercolours, and an oil on canvas study of a knight mounted on a horse (each painting is framed)

Six framed pictures to include an Eileen Reay oil on canvas study of a Blue Winged Kookaburra, signed, 50cm x 40cm, 'Sailing on the Dart' ltd edn signed print (no. 464/500), signed ltd edn print of seagulls, 47cm x 37cm, watercolour & pastel painting of Noah's Ark, 20th century watercolour seascape, signed, and a framed set of four watercolour & pencil studies on panel of the reverse of a nude female, with Chinese-style seal mark, 92cm x 43cm

19th Century watercolour, pencil and wash painting of the Village of Patterdale, initialled H.H, inscribed and dated 1846 to lower left, 24cm x 35.5cm, gilt framed & glazed

A framed watercolour painting of Windsor Castle. Signed John Healon, 1884. Measuring approximately 62x46cm

A framed watercolour painting signed H.A Linton. 63 x 38cm NO RESERVE

Watercolour painting by Patrick R Donovan depicting a mountain landscape. Frame dimensions- 68x50cm

Attributed to Solomon Alexander Hart R.A. (1806-1881), Jewish, The Rabbi, monogram lower right, watercolour and egg tempera, Professor of Painting at The Royal Academy, circa 1860, image 33 x 19cm

Oil Painting of a Man walking along a country path, indistinctly signed A Rauiu? together with Dutch Scene Watercolour signed J D Walker, Watercolour of an Otter with Fish on a River Bank and a Watercolour of a Country House through trees, largest 62cm x 47cm, all gilt framed and glazed (4)

Four Portraits including Oswald Hupert Oil on Panel of a Rabbi reading a newspaper, signed upper left, 18cm x 23cm, 19th century Oil on Canvas Portrait of Mr Thumbwood Cellarman with J May & Co painted by G Garland, 30cm x 36cm, Oil Painting on Panel of Edward VII, 28cm x 32cm and Watercolour of a Man drinking from a flagon signed G Rushton, 23cm x 32cm (4)

Collection of Five Bird Pictures including Oil Painting of Ducks amongst Flowers signed Stevenson 24cm x 19cm together with Robert W Milliken (b.1920) Pencil Drawing of Snipes, 48cm x 33cm, Watercolour of a Hoopoe, Watercolour of an Owl signed Tho. W King 1819, Richard Robjent Watercolour of Barrow's Goldeneye at Slimbridge

George Meakin, Watercolour of Six Animals including Rhino, Walrus, Kudu, etc, 31cm x 40cm together with Oil Painting of a Bushbuck signed Nancy Gilbey and dated 1939

A watercolour and pencil painting 'Common Zebra' by Francesca '93, 49cm x 40cm plus a pencil sketch by Tom Greenfield, 36cm x 57cm

Three Various contemporary artworks includes Watercolour of bridge at night by KLS Murdoch, Ishbel Macdonald D.A. Screen print titled 'Fashen Sunset' Ltd edition 4/30 and acrylic painting of white cottages signed to the corner by the artist.

Unsigned Woodland Watercolour plus Distressed Oil Painting

Original Watercolour Painting of The Liner Mauretania by J. Marshall

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Lluna plena, 2000.Mixed media (watercolour, charcoal and coloured pencil) on paper glued to cardboard.Signed and dated in the lower right-hand corner.Provenance: Private collection.Size: 15 x 21 cm; 19.5 x 29 cm (frame).After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s, until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism mark the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on the atmospheres, themes, objects and graphics of everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many awards, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009).Composition, 2000.Watercolour, coloured pencils and pastel on paper with poetry glued to cardboard. Framed with passe-partout.Signed and dated in the lower left corner.Provenance: Private collection.Size: 17 x 21 cm.After a brief figurative period, the 50's gave way to a more schematic and structured conception of reality, with a clearly abstractionist bias, which he would cultivate throughout the rest of his life. During the 1990s until the end of his career, his production is interpreted as a study of his own work. His compositions, stable and calm, show a structural purity taken to the extreme in which symmetry, order and balance configure the use of space dominated by geometry and the complementarity of colours.A painter, teacher, writer and graphic artist, Ràfols Casamada enjoys great international prestige today. He started out in the world of drawing and painting with his father, Albert Ràfols Cullerés. In 1942 he began studying architecture, although he soon abandoned it to devote himself to the plastic arts. His father's post-impressionist influence and his particular cézannism marked the works presented in his first exhibition, held in 1946 at the Pictòria galleries in Barcelona, where he exhibited with the group Els Vuit. Subsequently, he gradually developed a poetic abstraction, amorphous in its configuration, free and intelligent, the fruit of a slow gestation and based on atmospheres, themes, objects or graphics from everyday life. Ràfols Casamada worked with these fragments of reality, of life, in a process of disfigurement, playing with connotations, plastic values and the visual richness of the possible different readings, in an attempt to fix the transience of reality. In 1950 he obtained a grant to travel to France, and settled in Paris until 1954. There he became acquainted with post-Cubist figurative painting, as well as with the work of Picasso, Matisse, Braque and Miró, among others. These influences were combined in his painting with that of American abstract expressionism, which was developing at the same time. When he finally returned to Barcelona he embarked on his own artistic path, with a style characterised by compositional elegance, based on orthogonal structures combined with an emotive and luminous chromaticism. After showing an interesting relationship, in the sixties and seventies, with neo-Dada and new realism, his work has focused on purely pictorial values: fields of colour in expressive harmony on which gestural charcoal lines stand out. He has received many prizes, such as the National Plastic Arts Award from the Ministry of Culture in 1980, the Creu de Sant Jordi in 1982 and the CEOE Prize for the Arts in 1991. In 1985 he was named Knight of the Order of Arts and Letters of France, and is an honorary member of the Royal Academy of Fine Arts of San Fernando in Madrid. In 2003 the Generalitat awarded him the National Visual Arts Prize of Catalonia, and in 2009, just two months before his death, Grup 62 paid tribute to him at the Museu Nacional d'Art de Catalunya. His work can be found in the most important museums around the world: the Reina Sofía in Madrid, the Guggenheim and MOMA in New York, the Museum of Modern Art in Los Angeles, the Picasso Museum in France, the Georges Pompidou in Paris and the British Museum and Tate Gallery in London, among many others.

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, 1990's Royal Academy exhibition label to verso, titled "Roza", image size 19.5in x 15.5in

A framed watercolour painting by Marjana Wjasnova, also known as Marianne Watling, of Russian/Polish heritage, titled "Altiorapeto", image size 29in x 22in