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Neapolitan Seascape - G. Esposito - Oil painting on canvas, 20th century, Italian school, depicting a Neapolitan Seascape. Dimensions including the frame: 100x80 cm. Inner frame dimensions: 70x50 cm. Signed in the lower right corner by G. Esposito. The artwork is in good condition.

Seascape - A. Madonna - Oil painting on panel, 20th century Italian school, depicting a seascape. Internal frame dimensions: 80x60 cm. Overall dimensions including frame: 92x72 cm. Signed at the bottom left by A. Madonna. The artwork is in excellent condition and of outstanding artistic quality.

Neapolitan Seascape - G. Fontana - Oil painting on panel, 20th century, Italian school, depicting a Neapolitan Seascape. Dimensions including the frame: 66x55 cm. Inner frame dimensions: 50x40 cm. Bears a signature in the lower right corner by G. Fontana. The artwork is in good condition with minor signs of wear, as shown in the attached photos.

3 Artworks;Moira Maitland - Pencil drawing ''Pineapple'', signed.Oil on board Seascape, signed R.HPrint titled ''Sunbathers on the Beach, 1953, signed and dated 2010. Copy 1/10

Printed pictures (5) including a miniature seascape by Sheila Sandford in a resin "fossil" frame, a plastic lobster and a knitted Paddington Bear

Attributed to Richard Parkes Bonington, (1802-1828), watercolour on paper, Seascape, signed lower left, 23cm x 28.5cm, mounted, glazed and framed. Provenance – from the collection of the artist and Professor of Art at Nottingham Trent University, Derek Carruthers

JULIUS OLSSON (1864-1942) Seascape with gulls, inscribed "To F. Milne, Julius Olsson" lower left, oil on canvas, 51cm x 76.5cm,Framed dimensions: 71cm x 96cmProvenance: The Old Vicarage, Chideock.

* BILL WRIGHT RSW RGI DA (SCOTTISH 1931 - 2016), SHORE BIRD watercolour on paper, signed, titled and dated '88mounted, framed and under glassimage size 30cm x 43cm, overall size 53cm x 64cm 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.

* PAM CARTER DA PAI (SCOTTISH 1952 - 2022), WEST COAST SUNSET oil on canvas, signedframed and under glassimage size 61cm x 61cm, overall size 76cm x 76cm Note: Pam Carter was born in Tanganyika, East Africa to an Austrian mother and Scottish father. At the age of thirteen, she came to Scotland where she schooled at Bearsden Academy. She graduated from Glasgow School of Art in the seventies. "My main inspiration as an artist is in the Scottish landscape and seascape. I enjoy using colour to define contours, structure and changing light sequences. I search out specific viewpoints. I am equally inspired by the rugged isolation of the Western Isles and the dramatic viewpoints of the Eastern coastline. I work predominantly in oil". Pam Carter was unquestionably one of Scotland's most popular and successful contemporary artists. She won numerous awards and prizes, always received significant media attention, has been the subject of many magazine features and had several tv appearances. Her work is widely exhibited but rarely appears at auction. However, in The Scottish Contemporary Art Auction of 17th April 2022 lot 38 "Luskentyre Reflections" a 46 x 51cm oil by Pam Carter sold for £2000 (hammer) and in The Scottish Contemporary Art Auction of 10th July 2022 lot 230 "Gables Geary" sold for £2600 (hammer).Comment: Pam was a special artist and one who enjoyed wide popularity and substantial commercial success. In all our dealings with Pam over the years, she was always generous with her time and quick to provide the background to paintings we had received from private consignors and filling in gaps about locations, dates etc. Pam's work is instantly recognisable and she had that rare gift, even among the best artists, of being able to use the minimum of brushwork to create the maximum visual effect. Her "lines" were those of the natural environment but she knew exactly how to "see" them and portray them on canvas. Despite her commercial success, or perhaps even because of it, Pam's work probably hasn't yet reached the full audience that it so richly deserves. She exhibited frequently at numerous galleries in Scotland and gallery owners were inevitably in a queue to secure her work. Typically, Pam showed loyalty to those who were the first to support her when she was a relative unknown. Talented artists always wish to be remembered by their work and Pam Carter can be certain of that, but she'll also be remembered with great affection by all those who had the good fortune to meet her or know her.

SATSUMA HANDPAINTED ENAMEL AND GILT BOWLthe central female figure surrounded by male figures, stamped to base Made In Japan with red characters 19cm diameter; together with a Malaysian studio pottery leaf vase, stamped and labelled to base, 17cm high; a blue and white jug; a glass trinket box with flower detail and a small stained glass blue panel with seascape, 11 x 22cm (5)

JMW SEASCAPE WITH SAIL BOATScirca 1880, watercolour on paper, initialled JMW, framed and glazed, frame size 19 x 26cm

Große Rotlack-Schatulle. China. 5 x 19 x 24 cm. Rechteckiger Korpus mit idealisierter Seelandschaft, umgeben von Bergen und Bäumen. Seitlich umlaufendes Mäanderornament. Innen schwarz lackiert. Altersbedingte, kleinere Fehlstellen. Aufrufzeit 24. | Okt. 2024 | voraussichtlich 14:58 Uhr (CET)Large red lacquer casket. China. 5 x 19 x 24 cm. Rectangular body with idealized seascape, surrounded by mountains and trees. Meander ornament around the sides. Painted black inside. Minor defects due to age. Call time 24 | Oct. 2024 | probably 14:58 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Kleine SeelandschaftÖl/Leinwand/Holz. Unsigniert. Anfang 20. Jh. 14,5 x 22 cm. Gerahmt : 23,5 x 31,5 cm (Goldrahmen). Waldrand am See im hellen Sonnenschein. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 15:38 Uhr (CET) Small seascapeOil/canvas/wood. Unsigned. Early 20th century14.5 x 22 cm. Framed : 23.5 x 31.5 cm (gold frame). Edge of the forest by the lake in bright sunshine. Aufrufzeit 26. | Oct. 2024 | probably 15:38 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

SCHLICHTING, Waldemar(1896 Berlin - 1970 ebd.) Stimmungsvolles MeeresbildÖl/Leinwand. Links unten signiert. 61 x 81 cm. Gerahmt : 72 x 92 cm (heller Rahmen). Blick vom Strand über die Brandung hinaus aufs Meer unter sonnigem Himmel. Minimale Altersspuren. Marinemaler in Berlin, Schüler an der Akademie Berlin. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 17:00 Uhr (CET) SCHLICHTING, Waldemar(1896 Berlin - 1970 ibid.) Atmospheric seascapeOil/canvas. Signed lower left. 61 x 81 cm. Framed : 72 x 92 cm (light frame). View from the beach over the surf out to sea under a sunny sky. Minimal traces of age. Marine painter in Berlin, student at the Berlin Academy. Call time 26 | Oct. 2024 | probably 17:00 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

MULOT, Willy(1889 Wiesbaden - 1982 ebd.) "Der Rhein bei Eltville"Öl/Leinwand. Rechts unten signiert, verso bezeichnet/betitelt. (19)35. 83,5 x 91 cm. Gerahmt : 94 x 101 cm (teils silberner Rahmen). Winterliche Seelandschaft mit verlassenen Booten am verschneiten Ufer mit Blick hinüber zur Insel unter grauem Himmel. Leinwand doubliert. Deutscher Maler, Zeichner, Grafiker und Illustrator, studierte an der Akademie Düsseldorf, Meisterschüler bei Dücker, tätig in Wiesbaden. Literatur : Dressler. Aufrufzeit 26. | Okt. 2024 | voraussichtlich 18:20 Uhr (CET) MULOT, Willy(1889 Wiesbaden - 1982 ibid.) "Der Rhein bei Eltville"Oil/canvas. Signed lower right, inscribed/titled verso. (19)35.83.5 x 91 cm. Framed : 94 x 101 cm (partly silver frame). Winter seascape with abandoned boats on the snow-covered shore with a view across to the island under a gray sky. Canvas relined. German painter, draughtsman, graphic artist and illustrator, studied at the Düsseldorf Academy, master student of Dücker, active in Wiesbaden. Literature : Dressler. Aufrufzeit 26. | Oct. 2024 | probably 18:20 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

HECKENDORF, Franz(1888 Berlin - 1962 München) "Gewitterstimmung"Aquarell. Links unten signiert, verso signiert/betitelt. 24,5 x 40,5 cm. Gerahmt : 44,5 x 62 cm (moderner Rahmen). Seelandschaft mit Booten im hellen Mondschein bei nahendem Regen. Berliner Maler und Grafiker, Schüler der Akademie Berlin, "bedeutender Vertreter des Expressionismus". Aufrufzeit 26. | Okt. 2024 | voraussichtlich 20:22 Uhr (CET) HECKENDORF, Franz(1888 Berlin - 1962 Munich) "Gewitterstimmung"Watercolor. Signed lower left, signed/titled on verso. 24.5 x 40.5 cm. Framed : 44.5 x 62 cm (modern frame). Seascape with boats in bright moonlight with approaching rain. Berlin painter and graphic artist, pupil of the Berlin Academy, "important representative of Expressionism". Aufrufzeit 26. | Oct. 2024 | probably 20:22 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Richard Bonney (1902-1984)High Tide at Treyarnon Bay, oil on canvas, signed, 49 x 75cm; and a seascape by Larry Johns (2).

John Falconar Slater (1857-1937)Moorland landscape, signed, oil on board, 18.5 x 26cm, and a seascape attributed to the same hand, oil on board. (2)

Peter Cosslett (1927-2012)Moonlit seascape, signed, oil on canvas, 29 x 39cm.

Lucy Davies - a large oil on canvas seascape scene, signed to the lower right corner, 120.5 x 100 cm, unframedLocation: If there is no condition report shown, please request

Lucy Davies - a large oil on canvas seascape scene, signed to the lower right corner, 120.5 x 100cm, unframedLocation: If there is no condition report shown, please request

Prints:  A set of three black and white Engravings by Charles Campbell, depicting Roehampton House, Powis House and one other with matching ebonised frames, 26cms x 39cms (10 1/2" x 15") a pair of Seascape Oleographs, in gilt frame. (5) * From the Dispersal Sale, Coole Park

20th Century English School, Lambton "H.M.S. Jervis Bay's Last Action, 1940," O.O.C., atmospheric seascape with naval ship in smoke, approx. 96cms x 158cms (38" x 62"), with plaque, indistinctly signed Lambton, in wooden frame. (1) During the Battle, when the convoy encountered the German warship Admiral Scheer, about 755 nautical miles (1,398 km) south-southwest of Reykjavík, the captain of Jervis Bay, Edward Fegen, ordered the convoy to scatter, and set his own ship on a course towards the German warship to draw its fire. Jervis Bay was hopelessly outgunned and outranged by the 28 cm (11inch) guns of the German ship, but it attacked the larger ship with its guns, firing more to distract the German ship from the merchantmen than with hopes of doing any damage.[4] Although the German's shells ravaged Jervis Bay, and Fegen was wounded and many crewmen killed, Fegen and the surviving crew fought on until their ship was sunk. Captain Fegen and many of the crew went down with the ship.[5] Jervis Bay's sacrifice bought enough time for the convoy to begin to scatter. According to some sources[who?], further time was bought by the freighter SS Beaverford, which engaged Admiral Scheer, for over four hours. However, the account published after the war by the captain of Admiral Scheer and the timings of the sinking show that there was no such engagement. Beaverford fled with the other ships, but was sunk during the night. In the end, the German cruiser was only able to sink five merchant ships, and the remainder of the convoy escaped.[6] Sixty-eight survivors of Jervis Bay's crew of 254 were picked up by the neutral Swedish ship Stureholm  [sv](three later died of their wounds).[7]Guy Byam was one of the survivors of the sinking; he was later killed while covering an air raid over Germany for the BBC.[8] Captain Fegen was awarded a posthumous Victoria Cross as a result of this action. The citation for his award reads: For valour in challenging hopeless odds and giving his life to save the many ships it was his duty to protect. On the 5th of November, 1940, in heavy seas, Captain Fegen, in His Majesty's Armed Merchant Cruiser Jervis Bay, was escorting thirty-eight Merchantmen. Sighting a powerful German warship he at once drew clear of the Convoy, made straight for the Enemy, and brought his ship between the Raider and her prey, so that they might scatter and escape. Crippled, in flames, unable to reply, for nearly an hour the Jervis Bay held the German's fire. So she went down: but of the Merchantmen all but four or five were saved.

Alfred Thompson Bricher, American (1837-1908) "Breaking Waves," watercolour, Seascape with boats in distance and beach in foreground, approx. 52cms x 36cms (20 1/2" x 14"), signed lower left, gilt frame. (1)

Sydney F Cook (20th Century)Seascape at Duskwith rowing boat to the foregroundsigned and dated lower right 1918oil on canvas36cm x 61cm

LATE 19TH CENTURY BRITISH SCHOOL, Seascape with choppy waves and sea birds, watercolour, monogrammed WHC? and dated (18)82 lower right, 31.5cm x 25cm (Condition Report: some foxing in the sky area)

Thomas Bush Hardy (1842-1897) - Pair; Seascapes, watercolours, signed lower left and lower right, 10 x 15.5cm; together with George Chambers - Seascape, watercolour; Claude Hayes - Winter at Guildford, watercolour; and a framed print

Michael Harris (attributed) - Isle of Wight - A contemporary cased glass seascape bowl, tonal blue and green striated abstract blocks below blue trailed and gold foil included band, unsigned, height 10cm.

Michael Harris - Isle of Wight - A contemporary cased glass Seascape bowl, tonal blue striated abstract blocks below blue trailed and foil included band, engraved signature, no.96-500, diameter 16cm.

Clarice Cliff - Gibraltar - A conical sugar sifter circa 1931, hand painted with a seascape with sailing boats above yellow, pink and blue banding, Bizarre mark, height 14cm.

Timothy Harris - Isle of Wight - A Contemporary 'glass Seascape' fish head vase, opaque tonal blue and seagreen core with blue trails and foil inclusions, cased in clear, engraved signature no. 1/3, dated 2016, height 22cm.

Abayomi Barber (Nigerian, 1928-2021)Seascape signed 'Abayomi/ 93' (lower right)oil on canvas 59 x 79.5cm (23 1/4 x 31 5/16in).Footnotes:Abayomi Barber was best known for his application of surrealism to his artworks and his acute talent for producing naturalistic sculptures and paintings. Born in Ile-Ife in 1928, Barber would go on to study sculpture at Yaba College of Technology in Lagos. He later studied art in London while also working as an assistant to artist Obafemi Awolowo before returning to Lagos in 1971 to lecture at the University of Lagos. Following his experience of the demeaning expectations of European artists, Barber informally set up the Abayomi Barber School of Art. Its core ethos was grounded in debunking these low Western perceptions of African artists and making conceptual and surrealist art forms accessible and universal to African artists' practices.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

SEASCAPE INTEREST   To include oil and watercolours (4) Condition Report:Available upon request

LILIAS BLACKIE (BRITISH b. 1943)  SEASCAPE  Oil on board, signed lower left, 40 x 29cm  Together with two others by the same hand (3) Condition Report:Available upon request

An unsigned seascape watercolour 68x52cm 

J Corke seascape watercolours 46x36cm

J Corke seascape watercolours 45x35

Group of pictures to include: Three framed coloured prints to include: Fitzroy Island Great Barrier Reef Australia x2, and Whitsunday Island, together with another framed seascape. Douglas Symes 1964, 'Westward Ho!'. Watercolours. Together with A Williams Seascape, another marine scene. Watercolours. Signed S. DE. W. And another watercolour of a plain with mountains. Indistinctly signed. All framed and glazed. A. Willett, country lane with figures and sheep in a field with distant mountains. 31x47cm approx. Together a pastel study of a farm with figures and animals, distant mountains and lake. Appearing unsigned. 28x49cm approx. Both framed and glazed. (10) (B.P. 21% + VAT)

A late 19thC Continental tapestry picture, of a coastal seascape, with fishing vessels and fishing folk, in an oak frame, 73cm x 163cm. (AF)

RICHARD HENRY NIBBS (1816-1893) Shipping in a Stormy Seascape Signed Oil on canvas, 80 x 122cm

Victor Noble Rainbird, group of three unframed watercolours, summer, seascape and ' On the Tweed '

Dutch School, 19th Century -Seascape with shipping white cliffs beyond -Oil on canvas -29.5 x 40cm.

British School, 19th Century -Moonlit seascape -34 x 29cm.

J. Ferguson, oil on board, Rocky seascape with boats, signed and indistinctly dated, 29 x 54cm, ornate gilt framed. Condition - fair to good

Bernard Page (1927-1988), Contemporary oil on board, Seascape with sailing boats, signed, 19 x 24cm, ornate gilt framed. Condition - good

Stevens, Contemporary oil on canvas board, Seascape with crashing waves, signed, 11 x 16.5cm, ornate gilt framed. Condition - good

Ian MacInnes, (Scottish, 1922-2003), "Yesnaby, Visibility Good", (Orkney seascape), signed lower right, dated (19)96, oil on board, framed. 44cm by 59cm. Note: this lot may be subject to ARR. 

Henri Leon Thiebaut (French, 1855-1899) the Sea "La Mer", late 19th century Bronze, in the form of a Urn, with handles depicting merman and nymph to one side and a grotesque sea creature to the other, the body decorated with a seascape featuring a merman and nymph amongst waves with sea birds flying above, raised on fluted base decorated with scallops, signed to body 'H Thiebaut' and foundry mark to base 'Thiebaut Freres Paris', W 46 cm x H 67 cm x D 25 cm, Thiébaut Freres who cast this bronze was a highly productive foundry established by Henri-Leon Thiebaut in Paris and was best known for his high quality work with old lost wax casts. Thiébaut won Grand Prix medals at the International Exhibitions in Paris of 1878 and 1889. 

Taxidermy; An antique cased Diorama of Seabirds, comprising of ; a Puffin(Fratercula?), two Ducks(Anatidae?), and two others(unknown), set in seascape background, including; sand, rocks, shells, etc, W 78 cm x H 65 cm x D 25 cm, together with an antique Taxidermy cased specimen of a Herring Gull(Larus Argentatus?), also in seascape background, with sand and shells, W 69.5 cm x H 53 cm x D 23(2)

Impressionist seascape with figures bathing, oil painting, 28.5 x 41cm, gilt framed

Early 20th century continental school - Seascape with Rocky Headland - oil on board, 19 by 14cms, framed.

Patrick Reyntiens (British 1925-2021): Limited edition stained glass panel 'The Silver Sea', with green, blue and yellow glass sections each painted with a continuous seascape, signed by the artist and dated 2010, numbered 23/60, H24.5cm, W34cm

David Deakins (British 1944-): Seascape with Boat, oil on board signed 28cm x 38cm (mounted)

Unclearly signed. 20th century. Seascape after 19th century example. Oil on panel. Dimensions: H 41 x W 51 cm. Paint is coming off. In reasonable condition.

Oil on canvas, 67.5 x 95 cm (unframed), 82 x 109 cm (framed). This impressive painting from the Russian school, painted around 1880, presents several variants of the work Aivazovsky produced in 1875 (sold by Christie's in 2008). The scene takes place in Feodosia, southern Crimea, by the light of a full moon. Traces of an illegible signature can be seen at the bottom left. Ivan Konstantinovich Aivazovsky, born on 17 July 1817 in Feodosia, was noted from an early age for his talents in languages, music and drawing. At the age of 16 he was admitted to the Russian Academy of Arts in St Petersburg, specialising in seascape painting, a passion that arose after taking part in training with the Russian naval fleet. In 1839 he won his first gold medal, and although he had the opportunity to study in Rome, he preferred to return to Feodosia to perfect his technique. Later, in Rome, his work The Bay of Naples in the Moonlight was praised by J.M.W. Turner. Aivazovsky travelled around Europe, taking part in exhibitions such as the Paris Salon, where he received another gold medal and the Legion of Honour in 1857. Provenance: French private collection.

William Russell Flint (1880-1969) watercolour seascape with sailing boats, islands and lighthouses beyond, possibly the Bay of Islands, New Zealand, Scilly Isles or Scotland, signed lower right, 26.5 x 35cm

An Abu Garcia Seascape 4/0 Trolling reel, together with an Ambassadeur 6500 C and a 7000.

Flaxney Stowell (1846-1916), Isle of Man seascape, watercolour, 23cm x 15cm, signed lower left, framed and glazed, 41cm x 33cm.

Flaxney Stowell (1846-1916), Isle of Man seascape, watercolour, 35cm x 23cm, monogrammed lower left, framed and glazed, 55cm x 43cm.

A Chamberlain's Worcester mug, c 1810, painted to the front with a view of the Chamberlain's China Manufactory and the Cathedral, a figure on horseback on a road to fore, in gilt and black frame reserved on a salmon pink ground with seaweed gilding, painted mark in red script, and a contemporary English porcelain mug, painted with a continuous seascape between borders of seaweed gilding, 8.2cm h, (2) The Chamberlain's mug restored, the other good.