| Lot No |
Description |
Low Est |
High Est |
| 6 |
A village street scene oil on board, signed Peter Collens and one other of a Continental street scene (2 items) |
10 |
20 |
| 7 |
A print after D’oyle John and two other pictures (3 items) |
10 |
15 |
| 8 |
An oil on board of the windmill in Cranbrook initialled ‘B’ and dated ’53 and another oil on board of rural buildings, unsigned |
10 |
15 |
| 12 |
A limited edition print by David Aspinall of a view of Bedgbury School from the lake, numbered 23/250, signed twice lower right |
15 |
20 |
| 13 |
An oil on board of a fishing boat at anchor, indistinctly signed |
40 |
60 |
| 14 |
A chalk and charcoal picture of figures performing judo, an oil on canvas of a river scene and other pictures (4 items) |
20 |
30 |
| 15 |
A modern oil on canvas of a seascape, unsigned |
10 |
20 |
| 16 |
A framed indenture dated 1810 |
10 |
20 |
| 17 |
A collection of Beryl Cook prints and greetings cards (1 box) |
20 |
40 |
| 24 |
Framed oil on board ”Glebe Farm” indistinctly signed to lower right, together with a crewel work panel of roses |
10 |
20 |
| 29 |
A pair of contemporary fabric prints ‘Slate Fissures’, signed and initialled Olwen Thomas |
30 |
40 |
| 34 |
Two Victorian hand coloured engravings entitled Westminster Pit and Bull Broke Loose |
40 |
60 |
| 36 |
P.Vass after Fragonard ”The Fair Haired Boy” watercolour, together with a framed watercolour of a watermill signed S.H.Elliott dated ’59 (2 items) |
10 |
20 |
| 37 |
An oil on board of a highland river scene, unsigned, the verso with faint inscription and signature |
10 |
20 |
| 41 |
An oil on board of a stone bridge in a lakeland scene, by Betty Phelps, two other pictures by the same artist and a print (4 items) |
10 |
20 |
| 42 |
A Pears print entitled ” Naughty Boy or Compulsory Education” by Briton Riviere RA housed in a faux green marble frame, together with another similar titled ”The Fisher Lass” |
20 |
30 |
| 43 |
A signed etching by James E Bostock, R.E. (1917-2006) entitled ”The Great Hall of Crosby Hall” |
25 |
35 |
| 48 |
A watercolour of a woodland scene, indistinctly signed to lower left, possibly by Miss J Harrison-Brown circa 1908, housed in a gilt frame |
20 |
40 |
| 50 |
Watercolour ”Lone Pine Tree”, signed and an etching by N.Jones ”Hen” signed and numbered (2 items) |
30 |
50 |
| 51 |
Sheila (SAM) Vaughn ”Edwardian Interior” still life of flowers, signed. |
60 |
80 |
| 55 |
A hand coloured map of North America, framed |
15 |
20 |
| 56 |
A watercolour of a farm cart passing a group of pines by Mary Ellen Haward, signed |
35 |
45 |
| 57 |
A framed print of two seated ladies talking, housed in an ebonised frame |
15 |
20 |
| 58 |
A framed Victorian wool work picture of a lady |
30 |
40 |
| 59 |
An oil on canvas of a spaniel retrieving a mallard,, signed R Mason, housed in gilt frame |
30 |
40 |
| 60 |
A collection of framed Louis Wain prints ( 2 boxes) |
25 |
35 |
| 65 |
A limited edition print by David Birtwhistle, ‘The King’s School, Worcester’. 101/250, signed lower right |
20 |
30 |
| 66 |
A Victorian framed floral wool work picture of flowers |
20 |
30 |
| 68 |
A Victorian etching entitled ”The Valley Farm” engraved by George Sanders, from the original painting by John Constable, date 1875, housed in a gilt and ebonised frame |
20 |
30 |
| 69 |
An oil on board in ornate frame of wooden framed houses and town fountain, signed |
30 |
40 |
| 70 |
A pair of 19th century oil on canvas of Ramsgate Lifeboat, entitled ‘Going to the Rescue’ and ‘The Rescue’, each indistinctly signed lower right (possibly E Hemingway ?) dated 1878 and signed and titled to the verso, dated 1878 |
60 |
80 |
| 76 |
A pair of wool work pictures of village scenes |
40 |
60 |
| 81 |
A large oil on board of Bodiam Castle with figure in the foreground, signed N F.Gibson, dated 1889 |
40 |
60 |
| 91 |
A limited edition 1/50 photographic canvas entitled ”Eat, Drink & be Merry” from an original painting, with signed certificate of authenticity to back |
20 |
30 |
| 92 |
An unframed oil on canvas of a mountain scene |
50 |
60 |
| 93 |
An oil on board by Elizabeth Hunt of a garden gateway, framed |
20 |
30 |
| 100 |
An etching entitled ”Mrs Cooper knitting”, by Doris Marion Stacey (Exhibited 1918-1936), signed |
40 |
60 |
| 101 |
A watercolour of chrysanthemums by Ellen Genn, signed and dated 1879 |
35 |
45 |
| 102 |
A watercolour entitled ”Feeding Time for Ducks” by Sian Wilkins, signed |
10 |
15 |
| 103 |
A watercolour still life of poppies, signed to lower right E.Heron, housed in a gilt and ebonised frame |
20 |
30 |
| 104 |
A pair of framed coloured prints both depicting hunting scenes, one entitled ”The Death” |
20 |
40 |
| 112 |
A pair of oils on canvas, one depicting a mountain river scene the other a bridge crossing a river flanked by mountains, both by the same artist, one indistinctly signed to lower right |
30 |
40 |
| 113 |
A watercolour of a man fishing from the quay. the city in the distance, possibly by Cyril Chitty circa 1905, housed in a gilt frame |
20 |
30 |
| 114 |
An oil on canvas of ladies by a lakeside chateau, signed De Bois to lower right, housed in a gilt frame |
15 |
20 |
| 116 |
A 19th century Chinese hand painted festival scene on silk with character name to the bottom left hand corner |
50 |
80 |
| 117 |
A limited edition hunting print, numbered 254/375, signed to lower right |
20 |
30 |
| 120 |
An oil on board of a rural landscape and another river scene by Jane Allan, a 20th century British artist, both signed |
10 |
15 |
| 121 |
A framed pastel of three puppies, monogrammed to lower left and dated 1915, housed in an oak frame |
20 |
30 |
| 122 |
”Summer Lane” limited edition print, 40 of 100, signed to lower right, together with a contemporary abstract print (2 items) |
10 |
20 |
| 123 |
Susan Jackman framed print; ‘The Long Man of Wilmington, East Sussex’, signed in pencil to lower left, together with a print of ladies working in a field, signed Fred Morgan |
20 |
30 |
| 134 |
A pen and watercolour picture entitled ”Trafalgar Square” by J. Gilbert, signed to lower right |
20 |
30 |
| 135 |
A watercolour entitled ”The Canal, Bruges”, signed to back, circa 1916 |
15 |
25 |
| 136 |
An oil on canvas housed in a gilt frame of Marble Arch by P. Belloni, signed to lower right |
30 |
40 |
| 137 |
A watercolour by Dennis Ramsey showing a beach scene, dated 1960, signed to lower left |
20 |
30 |
| 138 |
A framed military print ”Farewell” originally painted by R. Hillingford for Black & White |
15 |
20 |
| 142 |
Margaret Pearce, 20th century Rye artist, watercolour of a still life and a castle ruin, each signed (2 items) |
30 |
50 |
| 143 |
A 19th century watercolour of figures outside of a church, unsigned |
40 |
60 |
| 145 |
An oil on canvas of a snowy mountain scene, indistinctly signed to lower right |
10 |
15 |
| 146 |
An oil on canvas housed in a gilt frame of a ship unloading, by G. Butler, signed to lower left, dated ’89 |
30 |
40 |
| 150 |
A humorous Japanese print |
25 |
35 |
| 152 |
A small oil on board of a hound and her puppies, signed S. Martin and dated 1685, housed in ornate gilt frame |
80 |
120 |
| 153 |
A Victorian oil on canvas of a still life of fruit, indistinctly signed to lower left, dated 1871, housed in a gilt frame |
20 |
30 |
| 162 |
A limited edition print by Gordon Rushmer entitled ‘Dusk’, numbered 5/850, signed to bottom right |
10 |
15 |
| 163 |
A watercolour of butterflies initialled E.H. dated 1986 |
10 |
15 |
| 164 |
R.J. Parker ”Clayton Mill” water colour, signed to lower right. |
10 |
15 |
| 165 |
Two mahogany framed prints entitled ”Feeding the Swans” and ”Feeding the Rabbits” |
10 |
15 |
| 166 |
A signed, coloured etching entitled ”Hay Whirls, Winchelsea” by Pamela Nash, dated 1981 2/25 |
30 |
40 |
| 167 |
A pair of gouaches of lake scenes, unsigned, framed and glazed |
10 |
20 |
| 191 |
A box of Victorian and later framed prints and photographs including Bodiam Castle, Hastings beach etc. |
15 |
20 |
| 212 |
Craig Long, limited edition print numbered 21/395, entitled ‘Cockington Court’, signed and framed, together with a collection of watercolours, prints and etchings |
20 |
30 |
| 218 |
A box of assorted Victorian and later prints, watercolours, photographs etc. |
20 |
30 |
| 223 |
An oriental framed silk floral panel, an oil on board of a waterfall signed M. Holmes together with six other paintings and prints |
10 |
15 |
| 224 |
An unframed watercolour of a castle ruin with indistinct signature to bottom left |
10 |
20 |
| 239 |
A collection of mainly RAF prints to include ‘The Night of the Dambusters’, ‘Time to go home’, ‘Bristol Blenheim MK IV’ and others |
20 |
30 |
| 258 |
A framed Victorian plaster panel decorated in relief of a winged lady and cherub |
20 |
30 |
| 349 |
A pair of large modern prints housed in gilt frames, and a large oak framed rectangular wall mirror |
10 |
15 |
| 371 |
Valerie Daniel, ‘Cottage Window’, artist’s proof, unframed, together with a good collection of modern contemporary colour prints, mostly signed |
40 |
50 |
| 373 |
A folder containing various 18th and 19th century prints, etchings and book plates |
30 |
40 |
| 375 |
Four signed prints of working dogs, all by the same hand |
30 |
50 |
| 499 |
”Zebra Crossing” signed limited edition etching 50 of 100, dated 1988, together with a signed limited edition photograph of giraffes 12 of 75, a photo plus a Wentworth wooden jigsaw (4 items) |
10 |
20 |