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Click here to subscribeA QUANTITY OF PICTURES AND PRINTS ETC, to include five Sheila Richards landscape watercolours, a Boris O'Klein signed and titled hand coloured etching 'Like our Masters', an indistinctly signed Southeast Asian coastal watercolour, a Barbara Wells watercolour of Daffodils, a Van Gogh poster print, 1985 Pirelli calendar, copies of The Times, assorted prints etc
THOMAS LEONARD EVANS (WALES 1926-1990) THREE WELSH SCENES, comprising white farm buildings signed bottom right, impasto oil on board, approximate size 40cm x 52cm, 'Ruin in Aberaeron' depicting dilapidated buildings, signed bottom right, signed, titled and dated 1971 verso, impasto oil on board, approximate size 46cm x 56cm, together with a watercolour on paper titled 'Trecaron Landscape' signed bottom right, signed, titled and dated 1971 verso, Condition Report: the second oil may benefit from a clean, all frames have some damage
A SMALL QUANTITY OF 20TH CENTURY PICTURES, to include a ceramic panel depicting stylised thistles, initialled and dated (19)69 bottom right, approximate size 33cm x 20cm, two Derek Caister watercolour landscapes, an indistinctly signed mountainous sunset landscape, an unsigned coastal landscape, a pencil drawing of a vagrant, receipt verso indicates the artist is Wallace Spence, together with three needlework pictures
JIMI HENDRIX (1942-1970) 'MOUNTAIN IN THE CLOUDS', a modern limited edition print depicting a landscape, facsimile signature and numbered in Roman numerals 34/125 to lower margin, NO certificate, approximate size 56cm x 71cm, Condition Report: the print is in good condition, dirty marks and some damage to the mount (1)
charcoal on paper, initialled mounted, framed and under glass image size 59cm x 64cm, overall size 86cm x 91cm Note: Donald Macdonald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the Isle of Lewis where he is now based. His work is held in various private collections around the UK, in Denmark, Hong Kong, Israel and the USA and in 2009 he was one of only three Scottish artists to feature in the BP Portrait Prize Award Exhibition. He was also the Scottish representative for the Mead Johnson International Exhibition in Evansville, USA. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
oil on canvas, signed, titled and dated Jan '07/Dec '08 verso unframed overall size 115cm x 128cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
oil on board, signed and dated 1973, titled label verso framed image size 77cm x 51cm, overall size 88cm x 63cm Handwritten artist's label verso. Provenance: Exhibited Royal Scottish Academy Annual Exhibition (Edinburgh) 1974 no 138. Note: Johnstone was born in Edinburgh in 1892 and grew up in Napier Road, near the Gothic Mansion, Rockville. Her father, landscape artist George Whitton Johnstone RSA (1849–1901), encouraged her artistic talents, and at the age of 16 she enrolled as a student at the Edinburgh College of Art. She took the Life Class with Ernest Stephen Lumsden where she revealed her talents at informal portraiture, a genre for which she became well known. In 1914 she became a member of staff at the Edinburgh College of Art. From the summer of 1915, she became a regular annual visitor to Kirkcudbright in Galloway, where she would paint with other mainly female artists including Jessie Marion King as part of the Kirkcudbright School. Dorothy Johnstone, with her close friends Cecile Walton and Mary Newbery, was a member of The Edinburgh School, which reformed in 1919, a collective of gifted and progressive artists associated with the Edinburgh College of Art. During 1919 she was living in Kirkcudbright where she had an affair with Vera Holme who would go on to be the 'Pankhursts' chauffeur'. In 1924, at the peak of her artistic career, Johnstone mounted a joint exhibition in Edinburgh with fellow artist Cecile Walton. She married her colleague and fellow group member David MacBeth Sutherland in 1924. They had a son, Sir Iain Sutherland, in 1925, and a daughter in 1928. As a consequence of her husband's appointment in 1933 as Head of Gray's School of Art in Aberdeen (now at Robert Gordon's University) and of the "marriage bar" in place at the time, she gave up her career and her students. She kept her links with Edinburgh by continuing to exhibit her portraits and landscapes at the Royal Scottish Academy to which she was elected an Associate (ARSA) in 1962. Johnstone painted landscapes and portraits, particularly of children, and her style was free and relaxed, whether using oil, watercolour, pencil or chalk. Some of her work is displayed at the National Gallery of Scotland. When she died in 1980, she bequeathed her important early painting 'Marguerites' (painted in 1912) to the Royal Scottish Academy. In 1983 Aberdeen Art Gallery gave her a major memorial show which toured, then in 1987 Bourne Fine Art (now The Fine Art Society) in Edinburgh and London staged a joint exhibition of the works of Dorothy Johnstone and her husband David MacBeth Sutherland.
gouache on paper, signed, titled label verso mounted, framed and under glass image size 54cm x 48cm, overall size 78cm x 71cm Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).
pastel on paper, signed framed and under glass image size 82cm x 58cm, overall size 115cm x 90cm Note: Ally (Alasdair Neil Renwick) Thompson, was a Scottish painter of the New Glasgow Boys generation alongside Peter Howson, Ken Currie, Adrian Wisniewski and the late Steven Campbell. Born in Glasgow, he studied at Glasgow School of Art from 1975 to 1980, gaining a B.A. First Class Honours in Fine Art, and a diploma in postgraduate studies with high commendation and a travelling scholarship. In 1989, a solo exhibition of his work at the Barbizon Gallery (Glasgow) was visited by the international art promoter Norbert Binotti, who then brought Thompson to international prominence with a one-man show in New York and major exhibitions in Paris. Ally lived and worked periodically in Provence in the 1990s. He subsequently steadily consolidated his international reputation with exhibitions in Britain, Europe and North America, appearing in galleries such as Flowers East in London and Gallery Albert 1er in Paris. A close friend of Peter Howson, with whom he was a fellow student at the Glasgow School of Art, both men and their work were almost equally unknown when they shared one of their first exhibitions, a two-man show at the Art School itself in 1984. Ally Thompson was naturally shy in new company rather than a bold and forthright salesman of his own work. He painted in several distinctly different styles, from surrealist to abstract to expressionist landscape and much in between, making him hard to categorise and package for promoters and critics. Visiting his studio in the early 1980s Alec Mather, a successful Lanarkshire businessman, was one of the first of several almost surrogate father figures in Thompson's life. He offered to pay Ally twice what he was asking for one his paintings on condition that the young artist gave up his day job as a school teacher. Thompson never looked back creatively. Alec Mather remained a friend, patron and supporter for the rest of the artist's life. Outside of Scotland, through the friendship and support of Norbert Binotti and (after his untimely death) Norbert's brother Claude, Thompson found an invigorating new audience for his work in New York, Paris and the South of France. For all his non-materialist philosophy, Thompson was not above a bit of name-dropping on occasion, and like any Glaswegian boy Ally was suitably astonished to sometimes find himself in the company (and painting collections of) the likes of Bob Geldof, Petula Clark, Richard Jobson, Picasso's son Claude and even France's President Mitterand.
charcoal on paper, initialled mounted, framed and under glass image size 75cm x 52cm, overall size 103cm x 78cm Note: Donald Macdonald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the Isle of Lewis where he is now based. His work is held in various private collections around the UK, in Denmark, Hong Kong, Israel and the USA and in 2009 he was one of only three Scottish artists to feature in the BP Portrait Prize Award Exhibition. He was also the Scottish representative for the Mead Johnson International Exhibition in Evansville, USA. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
watercolour on paper, signed, titled label verso mounted, framed and under glass image sie 36cm x 47cm, overall size 61cm x 71cm 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.
oil on board, titled verso framed and under glass image size 20cm x 29cm, overall size 34cm x 44cm Note: Sheila Macnab Macmillan was born in Glasgow in 1928. She attained a degree in Geography at Glasgow University and went on to train as a teacher. However, she had always painted and her talent was strongly encouraged by her uncle the distinguished Iain Macnab RE ROI (1890 - 1967) who persuaded Sheila to come to London and train under him. Iain Macnab had been Principal at Heatherley's Art School (1925 - 1940) and then went on to be founding Principal of the hugely influential Grosvenor School of Modern Art. Sheila's London influences and Glasgow School foundations evolved into a distinctive and individual style. She usually worked "en plein air" and her work is semi-abstract. She focused mainly on landscape where her training as a geographer, allowed her to use her understanding of land formation, the delicate balance of the seasons and the interaction between Man and the environment. Her uncle's concept of "rhythm" is evident in Sheila's work and remained a constant throughout her career. She painted in Scotland, Spain. France and Italy and exhibited widely, especially in Glasgow, Edinburgh, London and Newcastle. Her work appeared frequently at the Royal Scottish Academy, Royal Glasgow Institute, Paisley Art Institute annual exhibitions and at the Royal Academy Summer Exhibition (London). She won numerous awards and prizes over a long and distinguished career. In recent times we have offered a growing number of Sheila Macmillan's paintings with several achieving more than £1000. The current leading price is £1700 (hammer) for "Ronda, Spain", a 45 x 48cm oil on board (lot 510A, The Scottish Contemporary Art Auction 24th October 2021).
oil on canvas, signed, titled verso framed and under glass image size 33cm x 33cm, overall size 47cm x 47cm Handwritten artist's label verso. Note: Ian Elliot was born in Glasgow in 1946. He attended Glasgow School of Art. Ian visited, and gained much inspiration from, the island of Mallorca and from Italy and France, sharply contrasting environments from that of his native shores. He is known for incorporating the strong colours of the Mediterranean in all his landscapes. Ever a growing force, exhibiting in the RSW Exhibition, Edinburgh, the Royal Glasgow Institute (RGI), the Paisley Art Institute (PAI), the Aberdeen Artists’ Society (AAS), The Affordable Art Show, Battersea, The Glasgow Art Fair, The Scottish Show Thompson’s Gallery, Marylebone, The Scottish Show Richmond Hill Gallery, the Eton Gallery, The London Art Fair along with successful displays in regular exhibitions in a variety of Scottish galleries and charity events, with English galleries showing an ever increasing interest. Ian, apart from one man shows, was also involved regularly in a variety of group shows. Besides Britain, has works hanging in Eire, Germany, Spain, Belgium, Canada and The United States, amongst others. Ian Elliot’s work appeared in the prestigious International Artist magazine as one of ten finalists in their (global) landscape competition. His work has been widely reproduced as prints, calendars and as greeting cards.
conte on paper, initialled mounted, framed and under glass image size 67cm x 58cm, overall size 95cm x 84cm Note: Donald Macdonald was born on the Isle of Lewis in 1976 and after a short time in the Scottish Infantry he moved to Aberdeen and gained a BA Hons degree in Fine Art. After living and painting in Denmark and Glasgow for several years he returned home to the Isle of Lewis where he is now based. His work is held in various private collections around the UK, in Denmark, Hong Kong, Israel and the USA and in 2009 he was one of only three Scottish artists to feature in the BP Portrait Prize Award Exhibition. He was also the Scottish representative for the Mead Johnson International Exhibition in Evansville, USA. In 2013 he exhibited a commissioned painting in the Imperial War Museum in Manchester and later won a place in the 7th Figurativas painting and sculpture exhibition, held in the European Museum of Modern Art, Barcelona. In 2017 he won the Public Choice Award at the Art Gemini Prize and more recently he has been invited to show at the Columbia Threadneedle Prize (2018), The Lynn Painter Stainers Prize (2019), The Scottish Portrait Awards (2019), The Westmorland Landscape Prize (2019) and The Royal Scottish Academy (2019 & 2020).
A striking ceramic bowl by William Moorcroft, featuring the sought-after 'Moonlit Blue' pattern. This deep blue glaze showcases a hand-painted tree landscape, creating a mesmerizing night scene. The piece is complemented by a silver-plated rim and handle, crafted by William Hutton & Sons, adding elegance to the design. The bowl is marked Moorcroft on the underside, while the silver-plated rim bears the WH & SBP A1 mark. A fine collectible piece that embodies the artistry of early 20th-century Moorcroft pottery.Artist: William MoorcroftIssued: 20th centuryDimensions: 5"Dia x 4.5"HCountry of Origin: EnglandCondition: Age related wear.
An exquisite pair of Doulton Lambeth stoneware vases designed by renowned artist Hannah Barlow, celebrated for her masterful incised animal scenes. These finely crafted vases showcase a striking depiction of foxes in motion, skillfully etched into the stoneware surface and highlighted in a rich cobalt blue glaze. Each vase features a textured cream colored central panel with detailed sgraffito foxes in a naturalistic landscape, framed by decorative bands of stylized foliage. The upper section is adorned with raised floral motifs in blue against a warm ochre background, while the lower portion boasts elongated vertical leaf patterns in green and blue, enhancing the elegant form of the vases. Doulton Lambeth impressed mark. Artist initialed.Artist: Hannah Barlow, and Alice BuddenIssued: 1885Dimensions: 16.75"HCountry of Origin: EnglandCondition: Age related wear.
A striking Royal Doulton Flambe Sung vase featuring a detailed scene of an Arab man enjoying a picnic under a tree. This hand painted piece showcases the signature flambe glaze, a deep red with black and purple highlights, creating a dramatic effect. This example features a rich, saturated color palette, with finely executed details of the seated figure, his meal, and the surrounding landscape. Royal Doulton Flambe Sung backstamp.Issued: 20th centuryDimensions: 7.25"HCountry of Origin: EnglandCondition: Age related wear.
A rare Moorcroft pottery vase featuring an intricately hand-decorated marine landscape with a pair of fish swimming among stylized aquatic plants. This salt-glazed vase showcases the masterful craftsmanship of William Moorcroft, with its softly blended shades of blue and earth tones creating a naturalistic underwater scene. The design is enhanced by the raised slip-trailing technique, giving the fish and botanical elements a striking effect. The body of the vase is elegantly tapered, flaring slightly at the rim, while the base is adorned with delicate floral motifs, complementing the aquatic theme. The rich color variation, achieved through Moorcroft's signature glaze techniques, lends a luminous quality to the artwork. The vase is signed on the underside with "Moorcroft Potter To HM The Queen," denoting its association with the British Royal Warrant, a mark of the brand's esteemed reputation. Additionally, the base is stamped "Made in England," confirming its authenticity and period origin.Artist: William MoorcroftIssued: c. 1928 - 1953Dimensions: 12.75"HCountry of Origin: EnglandCondition: Age related wear.
Also known as Bifrost. Exquisite Wedgwood Fairyland Lustre vase featuring the highly sought after Rainbow pattern, designed by Daisy Makeig-Jones. This striking piece showcases a fantastical landscape with intricate gilt detailing and a mesmerizing iridescent glaze that shifts in hues of green, blue, and gold. The design includes fairy-tale scenes, pagodas, and lush foliage, characteristic of the enchanting Fairyland Lustre series introduced by Wedgwood in the early 20th century. Marked with the Wedgwood Portland Vase stamp. Z4968.Artist: Daisy Makeig-JonesIssued: 20th centuryDimensions: 9"HCountry of Origin: EnglandCondition: Age related wear.
A painted vase and cover. Floral borders with a continuous lake landscape scene with swans. Gilt floral handles. Doulton Burslem backstamp. Artist's signature on the bottom. #DoultonBurslem #Porcelain #CoveredVase #SwansArtist: William HodkinsonIssued: 1886 - 1902Dimensions: 7.5" H x 3.25" DiameterCountry of Origin: EnglandCondition: Age related wear.
A stunning example of Wedgwood Fairyland Lustre, this exquisite plate was designed by Daisy Makeig-Jones in the 1920s. The central scene features 'Imps on a Bridge', showcasing mischievous crimson and violet imps crossing an ethereal landscape, alongside the' Roc Centre', depicting a striking green Roc bird in flight. Surrounding this vivid design is the 'Twyford' border in an opulent orange lustre ground, delicately enhanced with intricate gilt detailing. The underside bears the Wedgwood Portland Vase backstamp, authenticating this highly sought-after collector's piece. A remarkable representation of Makeig-Jones' imaginative artistry, this plate is a prized addition to any Wedgwood or Fairyland Lustre collection.Artist: Daisy Makeig-JonesIssued: c. 1920sDimensions: 0.75"H x 10.75" dia. Country of Origin: EnglandCondition: Age related wear.
A stunning antique Doulton Burslem vase featuring an elegant hand-painted sepia-tone pastoral scene of a countryside house and bridge. The finely detailed landscape is encased within a rich cobalt blue background adorned with intricate gilt scrollwork. The vase's flared neck is embellished with elaborate gold floral designs, complementing the twin-handled design that adds to its refined aesthetic. The base is marked with the Doulton Burslem backstamp, indicating its English origin. A beautifully executed piece reflecting the high craftsmanship of late 19th to early 20th-century Doulton artistry.Issued: Early 20th centuryDimensions: 8.25"HCountry of Origin: EnglandCondition: Age related wear.
Designed by William Moorcroft, this exceptional Moorcroft pottery bowl features the highly collectible 'Moonlit Blue' pattern, a signature design introduced in the early 20th century. The bowl is adorned with a deep cobalt blue glaze, accented by hand-painted stylized trees in shades of green, depicting a tranquil nighttime landscape. The design wraps around both the exterior and interior, showcasing the craftsmanship and artistic detail characteristic of Moorcroft pottery.Artist: William MoorcroftIssued: 20th centuryDimensions: 8.25"W x 3.75"HCountry of Origin: EnglandCondition: Age related wear.
This lot features two pieces from Moorcroft Pottery, both beautifully decorated in the Dawn Landscape pattern. The set includes a small vase with rounded shoulders and an egg cup, each showcasing a serene blue and white landscape design with detailed tree motifs and gradient effects that evoke a tranquil dawn setting. Known for its intricate hand painted designs and distinctive glazing, Moorcroft pieces are highly collectible. Both items bear the impressed Moorcroft marks on the base, confirming their authenticity. Artist signed. Vase: 2.75"H. Egg Cup: 2.5"H.Artist: William MoorcroftIssued: 20th centuryDimensions: See DescriptionCountry of Origin: EnglandCondition: Age related wear.
George M Thraves (British 19th/20th century) watercolour, coastal landscape with agricultural workers and hay stooks to foreground, signed and dated 87 lower left, within a washline card mount and later gilt frame, under glass 41cm x 70cm & 67cm x 94cm overall, painting slipped within mount/frame, some slight discolouration showing to upper and right edge.
A 20th century oil on canvas, Mediterranean landscape with sunflowers, indistinctly signed lower right, within a simple frame, 56cm x 86cm overall, sold along with a small 20th century oil on canvas, autumnal woodland river scene, bearing signature Cantrell, gilt framed 36cm x 47cm and a coloured print after Edward Waite 'An Afternoon Fishing' 37cm x 48cm faded.
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