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Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) "Spring - Cheshire" Signed, titled on the mount, watercolour.26.5cm x 37cm (10.5in x 14.5in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in good, original condition with strong colours. There is a spot of browning and one or two minor spots of foxing across the paper. The painting is ornately framed and glazed. The surfaces of both the glass and frame are stained by nicotine and would certainly benefit from a light clean. The frame has some knocks and losses.

Arthur Henry Knighton-Hammond R.I., R.S.W. (British 1875-1970) Italianate courtyard scene with figures and statues Signed, watercolour.47cm x 31cm (18.5in x 12.25in)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is framed and glazed. There is extensive foxing across the mountboard. The frame has some minor scuffs and knocks commensurate with age.

William Woollett (British 1735-1785) Two huntsmen with dogs in a landscape Unsigned, titled on gallery label - 'J S Maas & Co Ltd, London' verso, watercolour and ink.24cm x 34.5cm (9.5in x 13.5in)The painting is in good, original condition. There is some general light browning and staining across the sheet and one or two small wormholes in the paper. The painting is framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Style of Myles Birket Foster (British 1825-1899) Figures on a rural lane Bears monogram, watercolour.17cm x 24cm (6.75in x 9.5in)The painting is in good, original condition. The paper has browned in some areas and there is some foxing across the painting. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Willie Stephenson R.C.A. (British 1857-1938) "A Grey Morning, Conway" Signed, titled on artist's label verso, watercolour.39.5cm x 62cm (15.5in x 24.5in)The painting is in very good, original condition with strong colours and no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

A gilt framed watercolour painting of The Adoration of the Christ Child, after the original by Fillipo Lippi, inscribed to back as the property of Jane Strachey, and giving details of the painting's loans, 30ins x 20ins

Indian Miniatures. Oval miniature views of India, mid-19th century, seven miniature monochrome watercolour and gouache on thick card, one heightened with gold, comprising architectural scenes of the Taj Mahal and other mosques and forts from the Mughal period, few minor fox spots to two scenes, the large scene 128 x 88 mm (5 x 3 1/2 ins), the remainder 48 x 38 mm (1 7/8 x 1 1/2 ins) and smaller, each painting with individual shaped and adhered glass cover (2 detached - one with painting slightly rubbed), mounted together on thick card, with early ink manuscript titles on verso, framed and glazed (18 x 23.5 cm)QTY: (1)NOTE:The views comprise: The Red Fort, Delhi; Humayun's Tomb, Delhi; Taj Mahal; Moti Masjid (Pearl Mosque), within Agra Fort; Khas Mahal, within Agra Fort; Jama Masjid, Delhi, and one not identified.

Kate Lynch (20th/21st century) - a study of two standing figures, signed, oil on board, 10" x 8.25"; together with three further pictures, an oil painting of a farmyard scene by A.S Phillips, a further oil painting by Peter J and titled 'Mallard on The Marsh' and a watercolour by Wormald depicting a farm in winter, various sizes (4)

Alfred R. Blundell (20th century) - Canal scene with buildings, possibly Venice, signed black and white etching, also inscribed with presentation details to A Rowe Esq, 11"  x 15.5"; together with three further pictures including an etching of St Paul's Cathedral by E Sharland, and two watercolours, scenes in Wells, Somerset, dated 1918 and 1923 respectively, various sizes (4) - ** One of the scenes at Wells, a watercolour by Ms Lucy Denison, has biographical details about the artist on the reverse of the picture, born in Government House, Hobart, Tasmania, she returned to England with her family in 1861 and lived with her father's brother Archdeacon Denison in the Somerset village of East Brent. She was a skilled Victorian lady painter and exhibited at the Society of Watercolour Artists between 1880 and 1881, painting landscape views mainly in southern England, London and abroad

Coastal watercolour and abstract painting

Frank Duffield (1901-1982) - Bristol Savages - A collection of 20th century paintings. To depict landscapes, rivers, docks, cityscapes and architectural studies. Watercolour and ink. Together with a Frank Shipside's watercolour painting of boats upon a moonlit river. All upon card and paper. Largest measures 54cm x 38cm. 

Frank Duffield (1901-1982) Bristol Savages - A 20th century watercolour painting to depict a fishing scene with fishermen on the shore of an estuary with landscape beyond. Signed to left corner. Framed and glazed. Measures 62cm x 43cm. 

Paul Bertram - (1833-1901)  - A Cloudy Morning at Dunton Bucks - A Victorian 19th century watercolour painting to depict a rural scene featuring sheep grazing aside a bridge and river with trees beyond. Framed and glazed. Measures 53cm x 43cm. 

A large collection of 20th century art reference books, the majority being on Victorian painting and Watercolour. To include several Graved Loan Exhibitions, In Turners Footsteps, The Royal Watercolour Society, Paintings from the Reign of Victoria - The Royal Holloway Collection, Understanding Watercolours, Victorian Watercolours, Ships and Seascapes, Fighting Ships 1750-1850 - Sam Willis, Albert Goodwin RWS 1845-1932, Watercolour Maters - Then & Now and more.

* PAUL LUCIEN MAZE (ANGLO-FRENCH 1887 - 1979),STILL LIFE WITH RED LILIESpastel on paper, signedimage size 37cm x 26cm, overall size 51cm x 39cm Mounted, framed and under glass.Label verso: The Midhurst Gallery, Midhurst. Note: Paul Lucien Maze was an Anglo-French painter. He is often known as “The last of the Post Impressionists" and was one of the great artists of his generation. His mediums included oil and watercolour although he was especially acclaimed for his pastels. Maze’s paintings include French maritime scenes, busy New York City scenes and the English countryside as well as Still Life. During the First World War, Maze met Winston Churchill in the trenches and their shared love of painting led to a lifelong friendship. Maze became Churchill's artistic mentor, encouraging him to develop his drawing and painting techniques.

India. In the Himalayan Foothills, mid 19th century, watercolour on paper, unsigned, some light toning, a few foxing spots (mainly to sky area), sheet size 34.2 x 48.7 cm (13 1/2 x 19 1/8 ins), mount with pencilled attribution 'H.S. Melville', framed and glazed (54.5 x 68 cm), verso with Fine Art Society label attributing Meville and with title 'In the Himalayan Foothill' [sic]QTY: (1)NOTE:It seems that this painting was offered at auction by Phillips, London on 19th April 1988 (lot 5). It was catalogued as by Harden Sidney Melville (1824-1894), and this attribution was continued by the Fine Art Society, whose label on the frame verso is dated 1989.

Ex-Voto. Votive painting of the face of Christ wearing the crown of thorns, 17th/18th century, watercolour on vellum, black painted border, caption to lower edge 'respice in faciem christi tui' ("look upon the face of your Christ" Psalm 84:9), 11.8 x 9.2 cm (4.75 x 3.5 ins), gilt moulded frame, glazedQTY: (1)

Myles Birket Foster, RWS, British 1825-1899- Two Venetian Canal Scenes: St Mark's and the Doge's Palace; and Santa Maria della Salute; the first pencil and watercolour heightened with white and scratching out on paper, the second pencil and watercolour heightened with white on paper, each signed with the artist's monogram 'BF' (lower left and lower right), the first 18 x 37.5 cm., the second 18 x 36 cm., two (2). Provenance: Private Collection, UK. Note: Birket Foster’s watercolours have almost come to define the modern image of Victorian England. He was born in North Shields on the Tyne though was brought up in London. He took up watercolour painting after his 1852-4 tour of the Rhineland and became a member of the Old Water-Colour Society in 1860. In 1863 he moved to Witley and it was from then on that the majority of his works were executed. He travelled widely, painting the countryside around Scotland, the Rhine Valley, the Swiss lakes and in Italy, especially Venice.Please refer to department for condition report

William Hamilton Henry Trood, British 1848-1899- The Truant; oil on canvas laid down on board, signed with initials 'WHT' (lower left), 13.5 x 17 cm. Provenance: Private Collection, UK. Note: Trood specialised in painting dogs, of which he said: 'I have painted them since I was four years old, but not until I was twenty could I paint one properly.' For some time he kept a menagerie in the back garden of his Chelsea studio until the neighbours complained of noise. Afterwards he kept a fox, badger and otter at home with his dogs. Trood exhibited regularly in England, principally at London's Royal Academy between 1879 and 1898, and also at Suffolk Street, the New Watercolour Society, Grosvenor Gallery and elsewhere.Please refer to department for condition report

A VICTORIAN HAND COLOURED FOLD OUT BOOK OF BRITISH MONARCHS FROM WILLIAM THE CONQUEROR TO QUEEN VICTORIA, eighteen pages with sovereigns titles in English and French with dates of reigns, card bindings, height 12.5cm x length 17cm, total length of fold out approximately 277cm, together with a 19th century watercolour and gilt crest and motto on card 'SERVE. GOD. AND. HONOR. KING.', framed and glazed, image 22.8cm x 20.5cm, seventeen early 19th century hand tinted cards from John Marshall (publisher) - The Infant's Cabinet Of The Cries Of London, 'Pub Sept 7 1802 by J Marshall...., comprising of nine in Vol. I' and eight in Vol. II, the engraved cards with pictures of Mason and Fishmonger, Shoemaker, Fruiterer, Grocer, Painter, Bookbinder, each measuring 71mm x 49mm and an unframed early 19th century print behind glass of a seated 18th century man painting a portrait of a lady, 8.2cm x 5.9cm (4) (Condition report: the monarchy booklet is well worn with some staining, tears and creases, the cards are well worn and commensurate with use and age, the crest is loose in the frame and stained, the glass over the print is cloudy)

MYLES BIRKET FOSTER (1825-1899) 'THE FERRY', a family board a rowing boat before a partially thatched cottage, initialled bottom left, watercolour on paper, later frame, approximate size 28cm x 39cm, Provenance: purchased at the Swan Gallery, Dorset November 2012 and comes with the exhibition catalogue and price list (Condition report: possible restoration in the boat area of the painting)

A Cardinal (19th century) watercolour, St Pierre Caen, signed, titled to mount, together with a watercolour of a lion and reverse painting of a racehorse, titled verso 'Orlando, Winner of the Derby 1844'. (3)

Two contemporary paintings. Comprising a Greenway, signed watercolour depicting a British submarine and an unsigned painting of a stylised horse, largest 51cm x 31cm, framed and glazed

Mixed media painting, interior scene with a spinning wheel and tea table, 13ins x 9.5ins approximately, framed, together with a watercolour street scene and watercolour view of a church

Jane Camp, signed gouache painting, flowers on a windowsill, together with three other watercolour and gouache floral studies, all unframed

A collective lot. Pencil signed ltd edition print on paper. Reverse painting /print on glass titled the Golfers. Watercolour painting of a cottage. Watercolour painting, Arabian scene with donkey and cart. Linocut harbour view, ltd edition signed and dated. Ltd edition and signed print titled Breakfast in Bed.

Pauline Bewick RHA, contemporary, watercolour On hand made paper, titled The Road to the Black Valley, Nov.86, signed Bewick. Overall frame size 100cm x 81cm (painting. 77 x 57cm).

A large Unsigned watercolour painting depicting a couple of a mountain side. 90 x 75cm.

‡ TOM NASH watercolour - abstract, entitled verso 'Study for a Painting, No.8', signed and dated 1962Dimensions: 16.5 x 22cmsProvenance:private collection Swansea, consigned via our Carmarthen officeCondition Report:original frame, glazed, no issues

‡ CHARLES FREDERICK TUNNICLIFFE OBE RA watercolour - study of two bullfinches perched on blossom branches, signedDimensions: 31 x 21cmsProvenance:private collection Cardiff, consigned via our Cardiff office, by descent from vendor's father Will Evans of Llangefni, Ynys Mon, a long-standing friend of the artist and Winifred Tunnicliffe through T G Walker, please see accompanying CF Tunnicliffe Society Year Book 2006 in which the painting is illustratedCondition Report:lovely fresh condition, framed and glazed

WELSH / BRITISH SCHOOL impressive large watercolour, circa 1850 - aspect of Llandaff Cathedral with figures, possibly by J PrichardDimensions: 141 x 86cmsProvenance:this painting was withdrawn from The Welsh Sale in October 2019 due to questions surrounding ownership now resolved, entered to auction by Cardiff stonemasons W Clarke who worked on the rebuilding and engineering of the Cathedral during the 19th Century, moulding to frame 'Presented to the Bishops of Llandaff by J Prichard Architect'Condition Report:framed and glazed, in original excellent moulded gilt frame

Francis Nicholson POWS (1753-1844)"The Dropping Rock at Knaresborough"Signed and inscribed with artist's address verso (according to label verso), mixed media with scratching out, 28.5cm by 40cm Provenance: The Fine Art Society Ltd., LondonBorn at Pickering in 1753, Nicholson settled at Whitby in 1783. In 1792 he went to Knaresborough, Ripon and finally settled in London. Nicholson exhibited at the Royal Academy in 1789. In 1804 he became one of the original members of the Watercolour Society. In later years he devoted himself to lithography. In 1820 he published "The Practice of Drawing and Painting Landscape from Nature". He was noted for the introduction in his landscapes of the device of stopping out the watercolour, which Turner also employed on occasion. There is a similar but larger watercolour of the same view by Nicholson dated 1803 and exhibited at the Royal Academy in the same year. Works of the same name were also exhibited at the Old Watercolour Society (Society of Painters in Watercolour) in 1807 (£21-0-0, bought by the Rev. Dr. Beeke, Ufton, Berks) and in 1809 (£3-3-0, bought by W. R. Stokes) and in 1811, bought for (£26-5-0)In a broadly fair to good state of preservation. Moderate to fairly pronounced staining across the sheet. Condensed tiny sized spots of foxing, most evident within the sky but not exclusively. Colour depth fairly good although tempered by time staining across sheet. No evidence of cockling. Not examined out of the frame.

JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921)."Villa d' Este".Watercolour on paper.Attached certificate issued by Don Ángel Castro.With stamp on the back.Signed and located in the lower left corner.Measurements: 54 x 35,5 cm.In this work the artist presents us with a frontal view of the palace of the villa d'Este, situated in Tivoli, on the outskirts of Toma. This viewpoint offered by the artist allows the dense and slender trees that frame the main path surrounding the staircase to be realised, treating the architectural construction as a backdrop and giving great prominence to the landscape.José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.

JOSÉ VILLEGAS CORDERO (Seville, 1848 - Madrid, 1921)."Villa d' Este, the 1000 fountains (Rome)".Watercolour on paper.Attached certificate issued by Don Ángel Castro.Signed and located in the lower left corner.Measurements: 35 x 53 cm; 38,5 x 57 cm (frame).The artists of the Spanish colony in Rome, Villegas among them, finding in the gardens of Villa d'Este in Tivoli, one of the favourite places to escape during the summer. in this case the author represents the fountain of the hundred spouts, which he had already painted in a work of the year 1896. although in this case he does not introduce any human presence, but focuses his attention on the landscape.José Villegas began his apprenticeship with José María Romero, under whose guidance he studied for two years. He then entered the School of Fine Arts, where he was a pupil of Eduardo Cano. At an early age he took his painting "Little Philosopher" to the Seville Exhibition of 1860, which sold for 2,000 reales. Around 1867, still in his formative years, he painted two canvases: "Girls begging for alms", highly praised by the critics, and "Columbus at La Rábida", acquired by the Duke and Duchess of Montpensier. He then travelled to Madrid, where he went to the studio of Federico de Madrazo. There he became friends with Rosales and Fortuny, and studied the masters of the Prado Museum. During this period he copied Velázquez, whose spontaneous style he adopted for his pictorial technique, as well as his vibrant colour. Seduced by Fortuny's orientalist work, Villegas returned to Seville and visited Morocco, from where he brought back some sketches and sketches. At the end of 1868 he decided to move to Rome in the company of Rafael Peralta and Luis Jiménez Aranda. There he attended the evening classes at the Accademia Chigi and shared a studio with other colleagues until he moved to Rosales's studio. At this time his work focused on genre scenes, a genre in which Villegas achieved resounding success, being in constant demand by a clientele eager for traditional themes, especially bullfighters and dancers. His extraordinary versatility also enabled him to satisfy the demand of an international clientele who, after Fortuny, demanded Arab fantasy themes. Thus, Villegas made use of his sketches taken in Morocco, without forgetting genre and "casacones" themes. In the mid-1970s he returned to Seville and visited Morocco again. Back in Rome in 1876, he took up the torch left by Fortuny and became the most admired and sought-after painter among dealers and collectors. He continued to work on his orientalist and costumbrist themes and sent his works to Spanish exhibitions. In 1878, following a commission from the Spanish Senate, Villegas began to work on history themes. In the mid-1980s he also focused on paintings directly inspired by Italian Renaissance art, the culminating work in this style being "The Triumph of the Dogaressa", painted in 1892 and exhibited to great acclaim in Berlin. During these years he worked especially in Venice, a city that offered him an inexhaustible setting for his compositions. In 1898 he was appointed director of the Academy of Fine Arts in Rome, in 1901 director of the Museo del Prado and in 1903 a member of the Academy of San Fernando. He is currently represented in the Prado Museum, the Fine Arts Museums of Seville and Cordoba, the San Telmo Museum in San Sebastián and the Bank of Spain Collection, among other important public and private institutions.

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink and graphite on paper.There are tears on the outer perimeter without affecting the drawing.Apocryphal signature and inscription.Measurements: 31 x 41.8 cm.In the oriental culture, painting has a great link with calligraphy, materials such as brush and ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Floating water lilies".Ink on blue card.Slight lack in the upper left corner.Signed in the lower left corner.Measurements: 31,5 x 45 cm.In the oriental culture painting has a great link with calligraphy, the materials such as the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Chinese school, modelled on WU GUANZHONG; 20th century."Village View".Ink on blue card.There are tears and faults in the corners.It has damp stains.Signed in the lower left corner.Measurements: 44,5 x 32 cm.In the oriental culture the painting has a great link with the calligraphy, the materials like the brush and the ink are fused in both disciplines. The material thus becomes a highly appreciated artistic motif, both for its form and for the content it is capable of conveying.Aesthetically, the work is close to the precepts of the multidisciplinary artist Wu Guanzhong, who worked in painting, ink and watercolour drawing, engraving, calotype and even made some enamelled porcelain pieces. Possibly the most renowned contemporary Chinese artist, Wu focused his work on the Chinese landscape, both natural and urban, depicting its architecture, plants and animals, characters and natural landscapes, in a style inspired by Post-Impressionism and drawing on traditional Chinese ink painting. He was also a prominent writer and critic of contemporary Chinese art. Born in Yixing (Jiangsu), he studied engineering at the Zhejiang Industrial School, and in 1936 moved to the Hangzhou National Academy of Arts in the same city to study both Chinese and Western painting under masters Pan Tianshou and Lin Fengmian. He graduated in 1942, and five years later he moved to Paris thanks to a scholarship from the Chinese government, which enabled him to study at the École Nationale Supérieure des Beaux-Arts in the city. On his return to China he took up a teaching post at the Central Academy of Art in Beijing, and later at Tsinghua University and the Normal School of Fine Arts in the same city, where he taught Western art. His exhibitions at the British Museum in London, the Metropolitan in New York and the Hong Kong Museum of Art are particularly noteworthy. Wu Guanzhong is currently mainly represented at the Singapore Art Museum, to which the artist himself made a major donation of work, although he is also present in other leading museums around the world.

Hildebrandt, Eduard (1818 Danzig - 1869 Berlin)"Siam Bangkok. Gewürzläden" oder "Siam. Schwimmende Gewürzläden". Chromolithografie nach einem Aquarell von Hildebrandt. Verlag R. Wagner, Berlin, um 1870/75. Im Motiv unten rechts eingedruckt signiert, unten links betitelt. Blatt No. 9 der Serie zur Sammlung Richard Goehde. 27,5 x 37,5 cm, 45,5 x 56 cm (Untersatz). Vollflächig montiert. Untersatz angeschmutzt und stockfleckig. Sioam Bangkok, Spice shops or Siam, Floating spice shops. Chromolithograph after watercolour painting by Hildebrandt. Publisher: R. Wagner, Berlin, around 1870/75. Plate no. 9 of a series. Mounted on supporting cardboard, here foxing and spotty.

Hildebrandt, Eduard (1818 Danzig - 1869 Berlin)"Tientsin" oder "Strasse in Tientsin" (heute Tianjin). Chromolithografie nach einem Aquarell von Hildebrandt. Verlag R. Wagner, Berlin, um 1870/75. Im Motiv unten rechts eingedruckt signiert, unten links betitelt. Blatt No. 24 der Serie "Reise um die Erde". 43,5 x 28 cm, 56 x 45,5 cm (Untersatz). Vollflächig montiert. Untersatz angeschmutzt und stockfleckig. Tientsin or Street in Tientsin. (Today Tianjin). Chromolithograph after watercolour painting by Hildebrandt. Publisher: R. Wagner, Berlin, around 1870/75. Plate no. 24 of a series. Mounted on supporting cardboard, here foxing and spotty.

Fred Yates (British, 1922-2008)Boats at Low Tide signed 'FRED/YATES' (lower left)oil on canvas21 x 25.5cm (8 1/4 x 10 1/16in).together with a further watercolour painting, Bowling Green, by the same hand (2)This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Illustrated and private press books Collection of works including: Bawden, Edward (illustrator). Well on the Road. Words, Christopher Bradby. London: G. Bell & Sons, Ltd, 1935. First edition, 4to, original cloth-backed pictorial boards; Previous Parrot Press. Tryphema Press. The Ghost of a Great Lodge. A Short Story by Olive Cook, with Drawings by Walter Hoyle, 1999. One of 148 copies signed by author and illustrator, 4to, original patterned boards; Idem. Walter Hoyle. To Sicily with Edward Bawden. With an Introduction by Olive Cook, 1998. One of 350 copies signed by Walter Hoyle and Olive Cook, 4to, original cloth-backed pictorial boards; Celandine Press. R. S. Thomas. Destinations, with Illustrations by Paul Nash, 1985. One of 300 copies, tall narrow 8vo, tipped-in colour plates, laid-in tissue-guards; Incline Press. Alan Powers, Barry Kitts, Ronald Maddox. In Place of Toothpaste. Three Essays celebrating the Watercolour Painting of Eric Ravilious, 2004. One of 250 copies, 4to, original cloth-backed pictorial boards, tipped-in colour plates; Stourton Press. To John Piper on his Eightieth Birthday, 1983. One of 900 copies, Tall 8vo, original pictorial boards; and approx. 35 others, including Edward Bawden & George Mackie, Historical Ballads of Denmark, Edinburgh: University Press, 1958 (one of 750 copies, this copy inscribed by Mackie to Frank Collieson, original boards, dust jacket), John Betjeman, Continual Dew, 1937 (first edition, dust jacket designed by E. McKnight Kauffer, price-clipped), idem, First and Last Loves, 1952 (first edition, dust jacket designed by John Piper, price-clipped), Claud Lovat Fraser (illustrator), Poems from the Works of Charles Cotton, The Poetry Bookshop, 1922 (first edition), 5 Merivale Editions signed limited prints, King Penguins, and similar (approx. 40)

ALBERT RÀFOLS CASAMADA (Barcelona, 1923 - 2009)."Blue box (2)", 1997.Watercolour on paper.Signed and dated in the lower left corner.Provenance: Collection.Work published and exhibited in "Ràfols Casamada", IVAM, 2001, p. 139.Size: 28 x 32 cm; 43 x 43 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 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 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.

AUTOGRAPH ALBUM: A good 8vo leather bound Writing Album containing several hundred signatures by a wide variety of famous men and women, all acquired by Mary Plumpton Beck, wife of Captain Frank Beck, in the early 20th century, including King George V (1865-1936) King of the United Kingdom 1910-36, signed ('George P') as Prince of Wales and dated at York Cottage, Sandringham, 14th October 1905 in his hand, with an epitaph in an unidentified hand immediately beneath, dated at Sandringham, 20th January 1936, and headed Sportsman and King, King Haakon VII (1872-1957) King of Norway 1905-57, Maud of Wales (1869-1938) Queen consort of Norway, wife of King Haakon VII and the youngest daughter of King Edward VII and Queen Alexandra, A.Q.S., Maud, in full, 'Thought is deeper than all speech, Feeling deeper than all thought', dated at Appleton [House], 10th December 1906, King Olav V (1903-1991) King of Norway 1957-91, son of King Haakon VII and Maud of Wales, Michael Ramsey (1904-1988) English Anglican bishop who served as Archbishop of Canterbury 1961-74, an unusual A.Q.S., Michael Ramsey, in both Greek and Roman script, beginning 'Stranger; Life is a fair inn to all, for she loves children and travellers-by-night alike…..', dated 31st July 1928, Alexandra of Denmark (1844-1925) Queen of the United Kingdom 1901-10, wife of King Edward VII, A.Q.S., Alexandra, in full, 'Let not yr. heart be troubled, neither let it be afraid', dated Sandringham, 24th March 1907 in her hand, Maria Feodorovna (1847-1928) Princess Dagmar of Denmark, sister of Queen Alexandra and Empress of Russia 1881-94 as wife of Emperor Alexander III, A.Q.S., Maria Feodorovna, taken from Psalm 149:4, in full, 'He will beautify the meek with salvation', dated Sandringham, 24th March 1907, Mabel Hervey (1860-1939) Wife of Rev. Canon Frederick Hervey of Sandringham, Bryan Godfrey-Faussett (1863-1945) British Naval Captain and Courtier, a friend of King George V, serving as his naval aide-de-camp 1915-18 and later as Equerry-in-Ordinary, and his wife Eugenie Fanny Eveline Dudley Ward (both A.Qs.S., each dated 28th January 1908), Princess Victoria (1868-1935) Daughter of King Edward VII and Queen Alexandra, Two A.Qs.S., Victoria, the first stating, in full, 'Hope shall brighten days to come and memory guild the past', dated at Sandringham, 3rd August 1905 in her hand, the preceding page featuring an autograph verse signed by the Princess with her initial V, in full, 'There is so much good in the worst of us, There is so much bad in the best of us, That it ill becomes the most of us, To say what we think of the rest of us', dated 30th April 1916 in her hand, Nikolai Faberge (1884-1939) Son of Peter Carl Faberge and grandson of Gustav Faberge, jeweller and founder of the House of Faberge, Autograph Statement Signed, N. Faberge, in full, 'May you be assured that these were the happiest and most enjoyable X-mas holidays I've had since I left my country 5 years ago', dated 31st December 1907 in his hand, Frank Beck (1861-1915) British land agent to the British royal family, instrumental in the formation of the Sandringham Company of Volunteers. Under his leadership the unit fought in the Gallipoli Campaign of 1915 and, during a battle there, Beck and many of his men went missing, presumed killed. Beck was portrayed by David Jason in the film All the King's Men (1999) which depicted the formation of the Sandringham Company and its fate. An extremely rare fountain pen ink signature and inscription, 'To my wife, A good woman whose words are those of wisdom, Her deeds are better than pearls, Frank Beck', dated Easter Day, 1905, in his hand, Archie MacLaren (1871-1944) English cricketer who captained the England cricket team, Henry Sylvester Stannard (1870-1951) British watercolour artist whose patrons included the British Royal family. An attractive original watercolour painting (6 x 3.5) signed in the lower left corner and neatly mounted to the centre of the page, additionally titled and signed beneath, '…..closing day, Light at evening time', H Sylvester Stannard', as well as many other signatures of family, friends and acquaintances of Captain Frank Beck and his wife, some of potential interest given further research including some pilots and officers with the Royal Flying Corps., members of the Blackwatch (including signatures of a Blackwatch football team who played against the RFC on 21st October 1916) etc. Many of the pages are multiple signed and are accompanied by verses, quotations and a few original drawings and watercolours etc. A few pages loose and the binding also loose and with some wear and damage to the covers and spine. Generally about VG

A small watercolour painting of a lady & child signed Tina Robinson & dated 74, 10¼” x 7”; & a small coloured French etching of Corsham House, 5¾” x 7¼”, each in a glazed frame.

A watercolour painting by Alan S. Holt depicting three spitfires on a runway signed & dated 1995, 11¾” x 18¾”; a limited edition coloured print after Alan S. Holt titled “The Scenic Route”, 15½” x 20¾” & two coloured engravings from R. Ackermann’s military scraps series, 6¼” x 9¾”, each in a glazed frame.

Morris P. Lambert (American b.1904 - 1969) - The Parachute - An early 20th Century watercolour on paper painting depicting planes and parachutists with dark tones and red and blue highlights. Dedicated to Penelope Spencer, dated June 9th 1919 and signed and titled to the right. Framed and glazed. Measures approx; 58cm x 40cm.  Lambert Morris was born in Atlantic, a small community located in Carteret County, the geographic center of coastal North Carolina. Uke two other local residents, Charles Clifton Edwards (1920 – 1989) and Alvin Harris (1904 – 1975), Morris was a hunter and decoy carver. Unlike his many contemporary carvers, Morris was a prominent attorney and judge. Penelope Spencer was an English dancer who is remembered for her modern approach to free-style dancing and choreography.

David Parfit - Evening Light From Ponte Di Rialto - A contemporary dated 2005 watercolour on paper painting depicting Venetian canals. Signed in pencil to the bottom right. Framed and glazed. Measures approx; 48cm x 49cm.   David lives in Coleford near Bath. He is a landscape artist working mainly with acrylic, oil and watercolour. Her prefers watercolour with its fluidity and uncontrollable nature as he feels this best suits his attempts to convey a feeling for the moods and atmosphere of the West Country landscape. 

THOMAS WILLIAM MORLEY (1859-1925) 'MID AFTERNOON, OLD BRUGES', a town view depicting a river flowing between old buildings, signed lower left, titled to the back of the painting, watercolour on paper laid on card, later frame, approximate size 37cm x 27cm,

* JANE CORSELLIS RWS RCA NEAC (BRITISH b. 1940),UNTITLED watercolour on paper, signedimage size 37cm x 52cm, overall size 63cm x 75cm Mounted, framed and under glass.Note: Jane Corsellis has been a member of the New English Art Club for almost 50 years and a member of the Royal Watercolour Society since 1985. She was a member of the Royal Cambrian Academy and the Royal West of England Academy. Jane is a passionate supporter of figurative painting. To observe closely and record everyday subjects in her own way is the essence of her paintings. Her oils and watercolours and her prints reflect her response to the quality and surprises of light and colour. She constructs her painting with much thought, building a composition which steers towards the abstract but never foregoing the figurative tradition. Sir Kenneth Clark said that “above all else art must be life enhancing” and Jane’s work reveals and celebrates that. Jane has a studio at her home on the River Thames at Chiswick and another in Wales at her house near Newport Pembrokeshire. She has had solo exhibitions in Hong Kong, Kuala Lumpur and Singapore, Ottawa, New York and Cardiff as well as in London galleries including Messums, Pattersons, the New Academy Gallery, The Russell Gallery, The Richmond Hill Gallery and Thompson's Gallery.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),SCAMPI BOATS, PITTENWEEMoil on board, signed, titled label versoimage size 26cm x 34cm, overall size 35cm x 42cm Framed.Artist's label verso. Handwritten 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. Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

* FRANK EGGINTON RCA (BRITISH / IRISH 1908 - 1990)CARRADALE - KINTYRE, ARGYLLwatercolour on paper, signed, titled versoimage size 37cm x 52cm, overall size 57cm x 72cm Mounted, framed and under glass.Label verso: Gladwell & Company, London.Note 1: The current auction record price for a watercolour by Frank Egginton of the same dimensions as "Carradale" is £6,600 (premium) Christie's, London 12.05.06, lot 5). It's possible that "Carradale" was a commissioned work because it features far more human architecture than one would usually expect from Egginton. The harbour, fishing boat and houses are painted in intricate detail and "Carradale" is probably the finest Scottish work by Egginton to be offered at auction. Note 2: Frank Egginton, son of the painter Wycliffe Egginton, was born in Cheshire and educated at Newton College and then Newton Abbot College of Art, before spending some time in an architect’s office perfecting his drawing. In 1930 he visited Co. Donegal to paint and continued to return year after year. He exhibited The Calabber River, Co. Donegal at the 1936 Royal Scottish Academy. In 1938 he visited the USA and spent several months travelling and painting the landscape and American Indians in their villages. During the Second World War he worked in a Belfast factory, and in 1946 he moved with his wife to Cookstown, Co. Tyrone. A keen ornithologist, in his younger days he had painted on bird-watching trips in Iceland and Switzerland. He also loved Scotland and worked there from time to time. Between 1932 and 1938 Egginton exhibited a selection of works with Donegal connections at the Royal Hibernian Academy. In 1952 he was part of a joint exhibition at the Victor Waddington Galleries in Dublin with Howard Knee. A regular exhibitor with the Fine Art Society in London, Egginton showed well over one hundred works there. He was primarily known for his watercolours.

* WILLIAM BIRNIE RSW RGI (SCOTTISH 1929 - 2006),EVENING LIGHT, GUBBIO (UMBRIA, ITALY)oil on board, signed and dated '93, titled label versoimage size 101cm x 44cm, overall size 117cm x 62cm Framed. Label verso: Roger BIllcliffe Fine Art, Glasgow.Comment: Like many great Scottish artists before him, Bill Birnie often painted the relationship between human architecture and monumental nature. "Evening Light, Gubbio" is an outstanding late example and the profile and physical dimensions of the picture emphasise the significance of the tree. 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.

* CLAIRE HARKESS RSW (SCOTTISH b. 1970),ROO IIwatercolour on paper, signed, titled versoimage size 26cm x 15cm, overall size 47cm x 35cm Mounted, framed and under glass.Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in March 2022, and at other prestigious galleries around the UK.

A Chinese watercolour scroll painting, depicting a ship within woodland landscape, with certificate for Zhao Yong from the Tang Dynasty Art Museum, in original box; together with three others (4)

Francis Nicholson (British 1753-1844): 'The Cascade at Gayle - Wensleydale Yorkshire', oval watercolour unsigned, labelled verso c.1780, 17cm x 24cmProvenance: Purchased from Royal Exchange GalleryNotes: There is a larger version of this painting at the V & A museum

Original 1949 watercolour artwork ABRIDGE VILLAGE, ESSEX by carriage print artist Alan Gray for the British Railways Eastern Region publicity department at Liverpool Street. Mounted only painting measures 19in x 14in and is in very good condition.

Alfred Cleavin, Watercolour painting of school of horses '': In gilt frame, signed and dated 1956, overall 38 x 49cm.

Herbert Betteley, watercolour painting of orchids: Dated 1911 in oak frame, 36 x 26cm and another painting of trees dated 1924, 31 x 20cm, Herbert Betteley worked as designer and artist at Royal Doulton from 1886?1930. (2)

Watercolour by D Swan local interest painting Newcastle under Lyme: Depicting Clement Wain Ltd., Chemist. Measures 57cm x 37cm excluding mount & frame.

Reginald G Haggar, Watercolour painting ''Birdham Sluice Sussex '': In wooden frame, signed and dated 4-5th October 1951, 28 x 40cm. Britain in watercolour 1952 exhibition label to reverse.