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J. Hamilton (twentieth century), still life with grapes, vines and other fruit, oil on canvas, signed lower left, 61 x 91cm, framed.

Helen Stuart Weir (British, 1915-1969), still life with jug and vase of flowers, oil on canvas, signed lower right, 76.5 x 63.5cm, unframed.

Enid Clarke (British, 1919-2020), 'Free Range Eggs' (1990), still life, oil on ivorine, signed and dated lower right, 6 x 8.5cm, framed and glazed.Provenance: with Llewellyn Alexander Fine Paintings, London.

Collection of oil on ivorine and watercolour on paper still life miniatures, including the following artists: Robert Hughes, Elizabeth Bosson, Wendy Zollinger, Iris Huckvale, Christine Hart-Davies, Florence Young, among others, sample size 6 x 7cm. (qty)Catalogue note: please be aware that none of these miniatures include ivory.Condition Report: Two Robert Hughes pictures in the lot, with numbers and titles as follows:6817, By the Windows4966, Polyanthus.

A. Jacques Weismann (twentieth century), still life with flowers, oil on board, signed lower left, 23 x 32cm, framed.

A group of items comprising: large wooden-framed mirror (80 x 130cm), two further oval mirrors, old mirror frame with oil on board insert, 1930s painted plaster figure of a woman and hunting dog (slight loss to leg unseen from front), three large framed prints, resin mirrored wall sconce, modern resin 'Vittorio Tessaro' wall plaque and a framed oil on metal still life

19th Century still life of pears and grapes, oil on canvas, 24 x 35cm, signed J E S, l r, in ornate gilt frame, a vintage Nottingham map in a gilt frame and a watercolour by Charles William Adderton 

Oliver Clare (British 1853-1927) oil on board, still life of fruit, 44 x 30cm, signed l r, in gilt frame

Oliver Clare (British, 1853-1927) oil on board, still life of fruit, 34 x 27cm, signed l r, in gilt frame

Oliver Clare (British, 1853-1927) oil on board, still life of fruit, 14 x 23cm, signed l r, in gilt frame

Eamonn F. Murphy (1948-2009). Bowl of fruit, still life, acrylic, signed, 21cm x 19cm, and another - pair. (2)

Eamonn F. Murphy (1948-2009). Jug, vase and fruit, still life, acrylic, signed, 29cm x 29cm.

A. Thornton (19thC). Still life flowers, 30cm x 61cm, and another similar (a pair)

20thC School. Still life vase of flowers, oil on board, unsigned, 40cm x 29cm.

A. Thornton. Still life fruit, 26cm x 59cm, and another pair (2)

20thC School. Still life, mixed media, unsigned, 45cm x 37cm.

A pair of Evelyn Chester (British 1875-1929 oil on board still life paintings. Depicting apples and plums with another grapes, apples and plum. Signed to one, framed. Measures 46cm x 37cm x 3.5cm. 

Christopher Penny (b.1947) Dead Tree, pencil signed framed limited edition coloured lithograph 137/200, together with William Geldart, Manchester Town Hall, pencil signed limited edition print, Violent Bellingham (20th century) Daffodils, still life, watercolour on paper together three other pictures .H.69 W.55cm. (largest)

Christopher Wood (British, 1901-1930)Spring Flowers in a Jug oil on canvas laid on board28 x 20.7 cm. (11 x 8 1/8 in.)Painted in 1928Footnotes:ProvenanceRex Nan KivellWith The Redfern Gallery, London, March 1942William MasonPrivate Collection, U.K.ExhibitedLondon, The New Burlington Galleries, Christopher Wood: Exhibition of Complete Works, 3 March-2 April 1938, cat.no.307LiteratureEric Newton, Christopher Wood 1901-1930, The Redfern Gallery, London, 1938, p.73, cat.no.331Painted in 1928, Spring Flowers in a Jug, belongs to a time when Christopher Wood was working closely with both Ben and Winifred Nicholson. The three had become increasingly close friends and spent much time together in London with Wood exhibiting alongside Winifred at the Seven & Five exhibition at the Beaux Arts Gallery during February of that year. As Spring dawned, an invitation to visit Bankshead, their farmhouse near Brampton in Cumbria, arrived and offered with it the opportunity to accelerate his learning and rejuvenate in the country. Writing to his mother, Wood noted that 'This is a dear old farmhouse. My room is lovely with great beams going up into the roof and across the room, all whitewashed and a huge window across the end, a box bed with a pretty blue cover, a table, a row of pots of tulips and little hyacinths and outside some ducks and a little farmyard like Beatrix Potter things' (Christopher Wood quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995, p.181). The stay was to have a crucial impact on his hosts too with Winifred describing how 'he came in March, his arrival was like a meteor' (ibid, p.181).The work they produced during this time has been described as sharing the same spirit with a multitude of ideas flowing back and forth. Ben Nicholson and Wood explored the necessity of elimination in their drawing, a lesson which the latter had started to learn whilst in Rome in 1925 and taught by Jean Cocteau and Picasso. Many of these works, incorporating box shaped farm buildings and an assortment of trees and animals, are almost impossible to differentiate and reflect the intimacy of the working relationship. However, it was to Winifred that the artist appears to have been closest and they shared a deep appreciation of colour along with a spiritual connection that would extend beyond his untimely death. It is through their respective depictions of flowers that the influence of one another is most evident, the present work being a striking example.Whilst both artists were well versed in more formal still life arrangements, they were most successful when working with bunches of wild flowers placed informally within a mug, jug or glass as can be seen in the present composition. Although Wood is not known to have painted any floral pictures at Bankshead itself, he spent much time observing Winifred and upon his return to Paris in April, he was focused on exploring the subject, requesting she send him bunches of spring flowers in the post. Several pictures, including Still Life, Bankshead (Private Collection), which depicts colourful flowers sent in one such package by Winifred emerged from the French capital. Placed in a blue glass to Winifred's influence, they are set within a composition drawn from Ben Nicholson's Walton Wood Cottage No 1 (Scottish National Gallery of Modern Art) with the wood itself and cottage almost identical but a heightened sense of colour throughout to give a unique identity. Spring Flowers in a Jug combines the strong influence of both Ben and Winifred from this important moment and is a visual record of the significant relationship between the three artists. The patterned complexity of the soft and muted background echoes the compositions of Ben whilst the flowers radiate in Winifred's own words as 'sparks of light, built of and thrown out into the air as rainbows are thrown, in an arc', set to Wood's own painterly gestures (Winifred Nicholson, quoted in Jovan Nicholson, Art and Life 1920-31, exh.cat., Dulwich Picture Gallery, London, 2013, p.33).We are grateful to Robert Upstone for his assistance in cataloguing this lot. He is currently preparing the forthcoming catalogue raisonné of the artist's work and would like to hear from owners of any work by the artist so that these can be included in this comprehensive catalogue. Please write to Robert Upstone, c/o Bonhams, Modern British Art Department, 101 New Bond Street, London, W1S 1SR, or email britart@bonhams.comFor further information on this lot please visit Bonhams.com

Julian Trevelyan R.A. (British, 1910-1988)Kiln Firing at Night signed and dated 'Trevelyan.'43' (lower left)oil on canvas56.2 x 45.7 cm. (22 1/8 x 18 in.)Footnotes:ProvenanceWith Alex Reid & Lefevre, LondonPrivate Collection, U.K.Julian Trevelyan first visited Stoke-on-Trent in 1937, and immediately felt an affinity with the place. As he was to write in 1955, 'the concentration of smoking kilns, like so many monstrous bottles, the canals, the gaping chasms from which the clay had been extracted – all of these produced in my mind a ferment of ideas and I drew like one possessed' (Julian Trevelyan, Indigo Days: The Art and Memoirs of Julian Trevelyan, Scolar Press, Aldershot, 1957, pp.86-7). The town, teeming with activity, provided a rich source of inspiration – from the constant stacking of the kilns, to the crackling fires of the furnaces and the smoke that bellowed from them, everywhere he looked there was visual stimulation.This new source of inspiration prompted a turn away from Surrealism and collage, and back to painting. This was to prove a formative experience for him, and he later commented: 'I think I was about twenty-eight [in 1938] when I found that for the first time I was painting my own pictures without trying to please anyone but myself...they were visions of my own world...and that was all that mattered. The smoking furnaces of the potteries and the desolate landscape of slag heaps and derelict slums of Stoke-on-Trent made a deep impression on me. I became myself beside the murky canals, and from then on life was easier'. (Julian Trevelyan, letter to his wife Ursula, quoted in Philip Trevelyan, Julian Trevelyan Picture Language, Lund Humphries, Farnham and Burlington, 2013, p.118).In 1939, however, War broke out again and in the autumn of that year he joined Stanley William Hayter working on industrial camouflage, taking on commissions to conceal factories from enemy aircraft. In October 1941, Trevelyan received his call-up and became a Lieutenant in the Corps of Royal Engineers. Like all those serving in the army, Trevelyan was obliged to wear an identification disc in case he was killed in service, each one carrying the name, number and religion of each soldier – characteristically true to his artistic calling, he wrote 'Surrealist' under the latter and noted: 'I used to wonder what rites would have been performed at my burial by a conscientious commanding officer' (Julian Trevelyan, op. cit., pp.138-9).During his time in the army, which included a tour of duty to North Africa and the Middle East, opportunities and materials for painting were limited, and his mental health deteriorated, eventually resulting in him being returned to civilian life after spending time being treated in a north London institution. From 1943, he was able to return to painting and significantly to his richest source of pre-war inspiration, Stoke-on-Trent, which forms the subject of the present lot. Evocatively titled Kiln Firing at Night, here the dark kiln is dramatically lit from within by flames that lick the sides, orange sparks visibly escaping amidst the smoke that bellows from the chimney. Fed by three men who are evidently hard at work, stripped down to just trousers and caps in the intense heat, stoking the fires and carrying coal to feed it - with further kilns visible in the background - there is a sense of the relentless cycle of work that would have kept the potteries in production at all hours of the day and night. Representing a welcome return to an important subject – and fond pre-war memories of freedom and productivity, uninhibited by camouflage or touring duties and the monotony of army life – Kiln Firing at Night hails from an important period in Trevelyan's life when he could return to the sanctuary of Durham Wharf. Life, however, was still complicated by the ongoing war – and indeed in late 1943 a large unexploded bomb landed in the garden next to Durham Wharf during the night, which must have been doubly alarming given the recent arrival in August of that year that their son, Philip. The present lot thus shows the artist's determination to carry on amid the challenges of life during the war, and his continued passion for painting.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

Ivon Hitchens (British, 1893-1979)Tree, Sky & Ragwort (Giant Oak Series) oil on canvas40 x 106.2 cm. (15 5/8 x 41 3/4 in.)Painted in 1978Footnotes:ProvenanceThe Artist's EstateWith Waddington Galleries, London (as Tree, Sky & Ragwort (Giant Oak Series) aka Open Country with Ragwort), 25 March 1993, where acquired byMiss Elizabeth CreakHer Estate Sale; Bonhams, London, 28 May 2014, lot 66With The Redfern Gallery, London, where acquired by the present ownerPrivate Collection, U.K.ExhibitedLondon, Waddington Galleries, Ivon Hitchens, A Retrospective of Paintings, 3 March-3 April 1993, cat.no.14 (col.ill and cover detail)London, The Redfern Gallery, Spring Exhibition: Modern British Art, 13 March-31 May 2019, unnumberedLiteraturePeter Khoroche, Ivon Hitchens, Andre Deutsch, London, 1990, pl.98 (col.ill)Please note that this work has been authenticated by John Hitchens, the artist's son, and bears a studio stamp (verso).Tree, Sky & Ragwort (Giant Oak Series) was one of the very last works that Hitchens' completed prior to his death in 1979, and his mastery of colour and form is plain to see. Filled with the speed and energy of a lifetime's experiment and practice and distilled into the simplest of visual languages, the work celebrates the landscape of the artist's beloved Sussex, that was the touchstone for much of his output.Hitchens' work, particularly from the forties onwards, barrelled towards further abstraction, culminating in the evocative landscapes of his later work that epitomise the artist's oeuvre. His landscapes in particular can at times be quite challenging to decipher with their sweeping fields of vivid colour and abstract shapes and planes. These shifting patchworks of colour invite the participation of the viewer, as we are drawn in to examine the form and surface of each work. Patrick Heron once said when describing one of Hitchens' woodland paintings in 1955, 'the tree is paint, and the paint is tree.' (Patrick Heron, quoted in Ivon Hitchens: Forty-Five Paintings, foreword by Alister Warman and Caroline Collier, Serpentine Gallery, London, 1989, p.5). In this work, the giant oak dominates the centre of the canvas. Boldly painted in deep browns and brilliant purples, put to canvas in sweeping painterly gestures, Hitchens brings to life the dark and brooding maturity and majesty of the tree, and draws the viewer into the landscape through this focal point. The oak is framed by the suggestion of a still-watered pond to the left, and the swathes of blues and orange above that hint at a sky at sunset. Flashes of the bright yellow of Ragwort flowers are licked at intervals across the canvas in languorous brushstrokes, at once almost entirely removed from the initial subject matter, and yet wholly anchored to it.As Hitchens so succinctly stated, 'nature contains everything, really' (ibid., p.6). An evergreen source of inspiration for the artist even until his later years, Tree, Sky & Ragwort (Giant Oak Series) perfectly illustrates the boundless enthusiasm Hitchens had for his beloved landscape.We are grateful to Peter Khoroche for his assistance in cataloguing this lot.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

Französischer Design-Tisch mit Stillleben. 1950er Jahre. Signiert "C. de Savigny".Messing, Email. Ca. 48 x 108 x 47 cm. Design-Couchtisch mit Keramikfliesen und polychromer Emailmalerei mit Gläsern und Flaschen. Metall mit Korrosionsspuren.Shipping not available.French design table with still life. 1950s. Signed "C. de Savigny".brass, enamel. Approx. 48 x 108 x 47 cm. Design coffee table with ceramic tiles and polychrome enamel painting with glasses and bottles. Metal with traces of corrosion.Shipping not available..*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.

Altmeistergemälde: Großes JagdstilllebenÖl/Leinwand. Unsigniert. Um 1700. 121 x 99 cm. Gerahmt135 x 114 cm. Qualitativ hervorragende Darstellung der Beutevögel mit Gewehr an einem Baum in weiter Gebirgslandschaft unter wolkigem Himmel Leinwand doubliert, ein kleines Loch. Provenienz : Fürsten Reuß j.L., Schloss Osterstein Gera. Shipping not available Old Master Painting: Large Hunting Still LifeOil / canvas. Unsigned. Circa 1700. 121 x 99 cm. Framed135 x 114 cm. Quality excellent depiction of prey birds with rifle on a tree in wide mountain landscape under cloudy sky Canvas doubled, a small hole. Provenance : Princes Reuss j.L., Osterstein Castle Gera. Shipping not available.*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.

ARNOLD, Gerhard(* 1938 Ludwigshafen) Junge FrauÖl/Malkarton. Rechts unten signiert. 30 x 20 cm. Gerahmt41 x 31 cm. Darstellung einer Frau in blau-weißem Kleid vor nicht näher erkennbarem Hintergrund Stillleben-, Genre- und Landschaftsmaler. ARNOLD, Gerhard(* 1938 Ludwigshafen) Young womanOil / cardboard. Signed lower right. 30 x 20 cm. Framed41 x 31 cm. Picture of a woman in blue and white dress against an indistinct background Still life, genre and landscape painter. *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.

KÖSELITZ, Rudolf(1861 Annaberg - 1948 München) Die kleine EvaÖl/Leinwand. Rechts unten signiert, verso bezeichnet/betitelt. 68 x 56 cm. Gerahmt83 x 70 cm. Junges Mädchen im Schatten eines Baumes mit einem Apfel und den weißen Enten auf der blühenden Wiese daneben Leinwand doubliert. Deutscher Genre- und Stilllebenmaler. KÖSELITZ, Rudolf(1861 Annaberg - 1948 Munich) The Little EvaOil/canvas. Signed lower right, verso inscribed/titled. 68 x 56 cm. Framed83 x 70 cm. Young girl in the shade of a tree with an apple and the white ducks in the flowering meadow next to it Canvas doubled. German genre and still life painter. *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.

KÜNDIG, Reinhold(1888 Uster/Kanton Zürich - 1984 Thalwil/Hirzel) Winter am WaldrandÖl/Leinwand/Karton. Rechts unten signiert. 18 x 24 cm. Gerahmt31 x 37 cm. Schneeschmelze nahe dem Wald im hellen Sonnenschein Schweizer Landschafts- und Stilllebenmaler, studierte in Düsseldorf, Paris und München. Literatur : Thieme/Becker. KÜNDIG, Reinhold(1888 Uster / Canton Zurich - 1984 Thalwil / Hirzel) Winter at the edge of the forestOil / canvas / cardboard. Signed lower right. 18 x 24 cm. Framed31 x 37 cm. Snow melting near the forest in bright sunshine Swiss landscape and still life painter, studied in Düsseldorf, Paris and Munich. Literature : Thieme/Becker. *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.

ARNOLD, Gerhard(* 1938 Ludwigshafen) WinterlandschaftÖl/Malkarton. Links unten signiert. 20 x 30 cm. Gerahmt30 x 40 cm. Bauernhaus am Waldrand im tiefen Schnee unter grauem Himmel Leichte Altersspuren. Stillleben-, Genre- und Landschaftsmaler. ARNOLD, Gerhard(* 1938 Ludwigshafen) Winter LandscapeOil / cardboard. Signed lower left. 20 x 30 cm. Framed30 x 40 cm. Farmhouse at the edge of the forest in the deep snow under a gray sky Slight signs of age. Still life, genre and landscape painter. *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.

WOLFGANG, Alexander(1894 Arnstadt - 1970 Gera) "Plothener Landschaft"Öl/Malkarton. Rechts unten signiert, verso betitelt. 29,5 x 33 cm. Gerahmt35 x 39 cm. Sommerliche Landschaft mit Teichen Landschafts- und Stilllebenmaler in Gera, Schwager von Otto Dix. Literatur : Vollmer. WOLFGANG, Alexander(1894 Arnstadt - 1970 Gera) "Plothen Landscape"Oil/painted cardboard. Signed lower right, titled on verso. 29.5 x 33 cm. Framed35 x 39 cm. Summer landscape with ponds Landscape and still life painter in Gera, brother-in-law of Otto Dix. Literature : Vollmer. *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.

WOLFGANG, Alexander(1894 Arnstadt - 1970 Gera) Waldrand mit gefällten BäumenÖl/Malkarton. Rechts unten signiert, verso Stillleben mit Malerutensilien. 30,5 x 49,5 cm. Nadelwald mit Baumstämmen im Sonnenschein Leichte Altersspuren. Landschafts- und Stilllebenmaler in Gera, Schwager von Otto Dix. Literatur : Vollmer. WOLFGANG, Alexander(1894 Arnstadt - 1970 Gera) Wald edge with felled treesÖl /alkarton. Signed lower right, verso still life with painting utensils. 30.5 x 49.5 cm. Coniferous forest with tree trunks in the sunshine Slight signs of age. Landscape and still life painter in Gera, brother-in-law of Otto Dix. Literature : Vollmer. *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.

WOLFGANG, Alexander(1894 Arnstadt - 1970 Gera) Dorflandschaft nahe IndustriegebietÖl/Malkarton. Rechts unten signiert. 31 x 41 cm. Gerahmt35,5 x 46 cm. Blick über die Felder zu den Schloten der Fabriken im Hintergrund Landschafts- und Stilllebenmaler in Gera, Schwager von Otto Dix. Literatur : Vollmer. WOLFGANG, Alexander(1894 Arnstadt - 1970 Gera) Village landscape near industrial areaOil/painted cardboard. Signed lower right. 31 x 41 cm. Framed35.5 x 46 cm. View over the fields to the chimneys of the factories in the background Landscape and still life painter in Gera, brother-in-law of Otto Dix. Literature : Vollmer. *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.

PAILES, Isaac zugeschrieben(1895 Kiew - 1978 Paris) MeerestiereÖl auf Leinwand. Signiert. 50 x 60 cm. Gerahmt60 x 70 cm. Profilierter Goldrahmen Pailes, zunächst Bildhauer, später Landschafts-, Bildnis- und Stillebenmaler. Studierte an der Kunstschule in Kiew, seit 1919 in Paris tätig. Regelmäßig auf Pariser Ausstellungen vertreten, Werke in Museen von Kiew und Philadelphia * Partnerauktion Bergmann. Literatur : Thieme-Becker (1907-1950). PAILES, Isaac attributed(1895 Kiev - 1978 Paris) Sea animalsOil on canvas. Signed. 50 x 60 cm. Framed60 x 70 cm. Profiled gold frame Pailes, first sculptor, later landscape, portrait and still life painter. Studied at the art school in Kiev, active in Paris since 1919. Regularly represented at Paris exhibitions, works in museums of Kiev and Philadelphia * Partner auction Bergmann. Literature : Thieme-Becker (1907-1950). *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.

MASS, Helene(1871 Schönlake/Posen - 1955) FliederÖl/Leinwand. Links unten signiert.110,5 x 52,5 cm. Gerahmt117 x 60 cm. Großes Stillleben mit weißem und lilafarbenem Flieder vor neutralem Hintergrund Minimale Altersspuren.Deutscher Malerin, studierte am Weimarer Bauhaus bei Itten, später in Berlin bei Dettmann und Leistikow. Mitglied des "Vereins der Berliner Künstlerinnen".Literatur : Thieme/Becker. MASS, Helene(1871 Schönlake/Poznan - 1955) LilacOil/canvas. Signed lower left.110.5 x 52.5 cm. Framed117 x 60 cm.Large still life with white and purple lilacs against a neutral background Minimal signs of age.German painter, studied at the Weimar Bauhaus with Itten, later in Berlin with Dettmann and Leistikow. Member of the "Association of Berlin Women Artists".Literature : Thieme/Becker.*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.

 Qualitätvolles StilllebenÖl/Holz. Unsigniert. Um 1860.69,5 x 52 cm. Gerahmt85 x 68 cm. Üppiges Stillleben mit Stil der barocken Altmeister mit verschiedenen Blumen in antikisierender Vase mit Genien Leichte Altersspuren. Quality still lifeOil / wood. Unsigned. Circa 1860.69.5 x 52 cm. Framed85 x 68 cm.Lush still life with style of the baroque old masters with various flowers in antique vase with genii Light traces of age.*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.

 Großformatiges Früchtestilleben im AltmeisterstilÖl/Leinwand. Unsigniert. Ende 19. Jh.120 x 79 cm. Gerahmt134 x 94 cm. Trauben, Birnen und Pfirsiche in einer Porzellanschale auf einem Sims über weiteren Trauben, Kürbissen und Granatäpfeln Altersspuren. Large format fruit still life in old master styleOil / canvas. Unsigned. Late 19th c.120 x 79 cm. Framed134 x 94 cm. Grapes, pears and peaches in a porcelain bowl on a ledge above other grapes, pumpkins and pomegranates Traces of age.*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.

JEANNIN, Georges(1841 Paris - 1925 ebd.) Stillleben mit Blumen und PfirsichenÖl/Leinwand. Links unten signiert.38 x 46 cm. Gerahmt : 58 x 65 cm. Die Früchte neben den Wiesenblumen im hellen Licht vor dunklem Hintergrund. Altersspuren.Stillleben- und Blumenmaler, stellte ab 1860 im Salon aus, Schüler von Vencelet. Er war Mitglied der "Society of Flower Painters in France" und wurde später deren Präsident.Literatur : Thieme/Becker. JEANNIN, Georges(1841 Paris - 1925 ibid.) Still Life with Flowers and PeachesOil/canvas. Signed lower left.38 x 46 cm. Framed : 58 x 65 cm.The fruits next to the meadow flowers in the bright light against a dark background. Traces of age.Still life and flower painter, exhibited at the Salon from 1860, student of Vencelet. He was a member of the "Society of Flower Painters in France" and later became its president.Literature : Thieme/Becker.*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.

SCHWIMBECK, Fritz(1889 München - 1977 Friedberg/Bayern) Stillleben mit KaktusÖl/Holz. Rechts unten signiert.50 x 40 cm. Gerahmt57 x 46 cm. Blühender Kaktus mit drei großen Blüten in Keramiktopf auf einem Teppich Leichte Altersspuren.Deutscher Kunsterzieher, Maler und Grafiker, studierte in München, teils Autodidakt.Literatur : Thieme/Becker. SCHWIMBECK, Fritz(1889 Munich - 1977 Friedberg/Bavaria) Still Life with CactusOil/Wood. Signed lower right.50 x 40 cm. Framed57 x 46 cm.Blooming cactus with three large flowers in ceramic pot on a carpet Slight signs of age.German art educator, painter and graphic artist, studied in Munich, partly self-taught.Literature : Thieme/Becker.*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.

RAIDA, L. Stillleben mit PortaluhrÖl/Holz. Rechts unten signiert. 1920.14 x 17 cm. Gerahmt20 x 23 cm. Die prunkvolle, goldene Uhr neben Blumenstrauß und Früchteteller auf einem weiß gedeckten Tisch neben Tasse vor einem blauen Vorhang Leichte Altersspuren. RAIDA, L. Still Life with Portal ClockOil / Wood. Signed lower right. 1920.14 x 17 cm. Framed20 x 23 cm.The magnificent, golden clock next to bouquet of flowers and fruit plate on a white covered table next to cup in front of a blue curtain Light traces of age.*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.

STRECKENBACH, Max(1863 Eckernförde - 1936 ebd.) WeihnachtssternÖl/Leinwand. Links unten signiert.60 x 60 cm. Gerahmt70 x 70 cm. Die Pflanze in gelber Vase im warmen Licht Minimale Altersspuren.Deutscher Stilllebenmaler.Literatur : Thieme/Becker. STRECKENBACH, Max(1863 Eckernförde - 1936 ibid.) Christmas StarOil/canvas. Signed lower left.60 x 60 cm. Framed70 x 70 cm.The plant in yellow vase in the warm light Minimal signs of age.German still life painter.Literature : Thieme/Becker.*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.

HEINSOHN, Alfred zugeschrieben(1875 Hamburg - 1927 ebd.) BlumenstilllebenÖl/Leinwand. Links unten monogrammiert. 1. H. 20. Jh.53 x 40,5 cm. Gerahmt68 x 55 cm. Naiv gemalter Strauß mit verschiedenen Blumen auf einem Tisch neben Früchten Wenn A. Heinsohn, dann: Deutscher Maler, studierte an den Kunstgewerbeschulen Hamburg, Karlsruhe und Düsseldorf. Später bei Hagen in Weimar.Literatur : Thieme/Becker. HEINSOHN, Alfred attributed(1875 Hamburg - 1927 ibid.) Still life of flowersOil/canvas. Monogrammed lower left. 1st H. 20th c.53 x 40.5 cm. Framed68 x 55 cm. Naively painted bouquet with various flowers on a table next to fruits If A. Heinsohn, then: German painter, studied at the Kunstgewerbeschulen Hamburg, Karlsruhe and Düsseldorf. Later with Hagen in Weimar.Literature : Thieme/Becker.*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.

DAUCHOT, Gabriel(1927 - 2005) Stillleben mit BaguetteÖl/Leinwand. Links unten signiert.60 x 73 cm. Gerahmt88,5 x 101 cm. Ein Teller mit Gemüse neben einem Glas mit weißen Rosen und einem Baguette auf einem weiß gedeckten Tisch Retuschiert.Französischer Künstler. DAUCHOT, Gabriel(1927 - 2005) Still Life with BaguetteOil / canvas. Signed lower left.60 x 73 cm. Framed88.5 x 101 cm.A plate of vegetables next to a jar of white roses and a baguette on a white-covered table Retouched.French artist.*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.

TAUREL, Hélène(1836 - 1919) Stillleben mit OrangenÖl/Sperrholz. Rechts unten mit Pseudonym "AHamburger" signiert. Um 1900.17 x 24 cm. Gerahmt29 x 35 cm. Die geschälten Früchte im hellen Licht Auch Ellen Augusta Hamburger. TAUREL, Hélène(1836 - 1919) Still Life with OrangesOil / plywood. Signed lower right with pseudonym "AHamburger". Circa 1900.17 x 24 cm. Framed29 x 35 cm.The peeled fruit in the bright light Also Ellen Augusta Hamburger.*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.

CEUPOLD Stillleben mit Silber und ObstÖl/Holz. Rechts unten mit signiert. 1948.30 x 40,5 cm. Gerahmt41 x 51,5 cm (Rahmen leicht defekt). An Paul Cézanne erinnerndes Stillleben mit Äpfeln und Pfirsichen neben und auf silbernen Platten mit Krug und Sektglas auf weiß drapiertem Tisch CEUPOLD Still life with silver and fruitOil / wood. Signed lower right with. 1948.30 x 40.5 cm. Framed41 x 51.5 cm (frame slightly defective). Still life reminiscent of Paul Cézanne with apples and peaches next to and on silver plates with pitcher and champagne glass on white draped table .*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.

 Monogrammist "D.K.-S.": Stillleben mit FrüchtenPastell. Rechts unten monogrammiert. Anfang 20. Jh.34 x 40 cm. Gerahmt & hinter Glas46 x 52 cm. An Dora Koch-Stetter erinnerndes Stillleben mit Äpfeln in einem Korb neben Walnüssen und einem Teller mit weiteren Früchten  Monogrammist "D.K.-S.": Still life with fruitPastel. Monogrammed lower right. Early 20th c.34 x 40 cm. Framed & behind glass46 x 52 cm. Still life reminiscent of Dora Koch-Stetter with apples in a basket next to walnuts and a plate with other fruits .*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.

 Monogrammist "EB": Stillleben mit Krügen und FrüchtenÖl/Malkarton. Deutschland. Links oben monogrammiert. Um 1910.35 x 38 cm. Gerahmt39 x 41 cm. Keramikgefäße neben Kürbis und Knollen  Monogrammist "EB": Still life with jugs and fruitOil/painting board. Germany. Monogrammed upper left. Circa 1910.35 x 38 cm. Framed39 x 41 cm. Ceramic vessels next to pumpkin and tubers .*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.

 Undeutlich signiert: Stillleben mit BlumenÖl/Malkarton. Links unten undeutlich signiert. 1941.50 x 69 cm. Gerahmt56 x 76 cm. Kleiner Blumenstrauß mit violetten Blüten in gläserner Vase  Indistinctly signed: Still life with flowersOil / paint cardboard. Signed indistinctly lower left. 1941.50 x 69 cm. Framed56 x 76 cm.Small bouquet with purple flowers in glass vase .*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.

WOZNIAK, Ryszard(* 1956 Białystok) BlumenstilllebenAcryl/Leinwand. Rechts unten monogrammiert, verso signiert. 1990.100 x 100 cm. Gerahmt102 x 103 cm. Polnischer Maler, Performer, Pädagoge und Kunsttheoretiker. Studierte in Warschau. WOZNIAK, Ryszard(* 1956 Białystok) Still life of flowersAcrylic / canvas. Monogrammed lower right, signed on verso. 1990.100 x 100 cm. Framed102 x 103 cm. Polish painter, performer, educator and art theorist. Studied in Warsaw.*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.

FESER, Albert(1901 Hamburg - 1993 ebd.) Stillleben mit StaffeleiÖl/Malkarton. Rechts unten signiert, verso betitelt. 1991.51 x 70 cm. Gerahmt55 x 74 cm. Künstlerzimmer mit Staffelei, Bildern und nicht eindeutig erkennbaren Malutensilien Kleine Kratzer.Hamburger Spätimpressionist, studierte an der dortigen Landeskunstschule, Schüler Wohlers.Literatur : Vollmer. FESER, Albert(1901 Hamburg - 1993 ibid.) Still life with easelOil/painting cardboard. Signed lower right, titled on verso. 1991.51 x 70 cm. Framed55 x 74 cm. Artist's room with easel, paintings and not clearly recognizable painting utensils Small scratches.Hamburg late Impressionist, studied at the Landeskunstschule there, student Wohlers.Literature : Vollmer.*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.

CHURCHILL (WINSTON)Typed letter signed ('Winston S. Churchill') to A.S. Judge ('My dear Sir'), advising him to send his letter to the Daily Telegraph as he would have a better chance of getting it printed ('...Although this paper is unhappily hostile at the present time to our view on Indian policy, it nevertheless accords far more impartial treatment in its letter columns to our opinions... After all they have a far larger circulation than the Times...'), one page, dust-staining, creased with small tears at folds, 4to (255 x 200mm.), Chartwell, 26 September 1933Footnotes:Churchill, the defender of Empire, took a firm stance against partition and famously described Gandhi as '...a malignant subversive fanatic...' and '...a seditious Middle Temple lawyer, now posing as a fakir... striding half naked up the steps of the Viceregal Palace while he is still organizing and conducting a defiant campaign of civil disobedience...'. He refused to meet Gandhi on his trip to London in 1931 for the Second Round Table Conference: '...In my view England is now beginning a new period of struggle and fighting for its life, and the crux of it will be not only the retention of India but a much stronger assertion of commercial rights. As long as we are sure that we press no claim on India which is not in their real interest we are justified in using our undoubted power for our welfare and for our own...' (Martin Gilbert, Churchill, A Life, 2000, p.106).For further information on this lot please visit Bonhams.com

SHAW (GEORGE BERNARD) and HAYDEN CHURCHArchive of correspondence, interviews and other material assembled by journalist Charles Hayden Church (1878-1956) during a long association with George Bernard Shaw over some twenty years, comprising:i) Articles and questionnaires, typed by Church and annotated with responses and extensive manuscript amendments by Shaw, giving his opinion on a wide variety of topics such as sex education in schools ('...Sex should not be discussed with children, either by parents or school teachers...'), his vegetarianism ('...I eat cheese, butter and eggs but no flesh, no fowl and no fish... I object to a carnivorous diet not only because I feel instinctively that it is abominable but because it involves a prodigious slavery of men to animals...'), prohibition in the US ('...It may be that life is so miserable in America that people cannot bear it without drugging themselves with alcohol...'), the economic future of England ('...If the Big Ship [Civilisation] goes down, England will go down with it...'), women's success in previously male preserves ('...Why shouldn't they? Miss Johnson did not fly to Australia: a machine did; and she hung on to it and steered it... several women had babies yesterday without any help from a machine. Prove to me that a man has achieved that amazing and arduous feat...'), on longevity ('...we die because we do not know how to live, and kill ourselves by lethal habits...'), suggesting future political programmes ('...I am not God Almighty disguised as GBS... I am advising women to demand the Coupled vote – One Couple One Vote... I advise the whole nation to put before every other reform the invention of an alphabet of at least 42 letters capable of indicating every sound in our speech...'), matrimony ('...a woman's right to motherhood should not be conditional on her taking on a husband...'), adding a scene to the film version of Pygmalion ('...the cinema can afford practically unlimited money...'), artificial insemination ('...raises many questions... I can not forsee what will happen...'), his 91st birthday ('...Birthday! Get out. Go. The man who ever utters the word Birthday in my presence is no friend of mine... Good afternoon. Don't come again...'), an amusing account of faking a séance ('...An evening of miracles followed... After that experience I could not discuss the subject with Oliver Lodge grieving for his lost son, nor with the infatuated author of Sherlock Holmes...'), on the partition of Palestine ('...The Jews and Arabs, backed by local Home Rulers and Imperialists, must fight it out until they are tired of bloodshed and financially bankrupt...'), writing ('...A slosher using ready made phrases and ideas and never stopping to think can write several thousand words a day... I can write the dialogue of a long play easily within two months if I stick at it... the stage business is pure drudgery...'), on Shakespeare ('...a volcano from whom plays burst like lava. I am by comparison a tidy old maid...'), inspiration ('...I can sit down without an idea in my head except that I must write a play; and a play comes. A good play too...'), and much else; with a typed article signed and dated ('G. Bernard Shaw/ 19 May 1933') explaining that his initial sympathies with the Nazi movement were soon expelled by Hitler's 'insanity' over the 'Jewish question': '...an epidemic of a very malignant disease... I appeal to Herr Hitler and Captain Goering to bear in mind that Judophobia is not a part of Fascism, but an incomprehensible excrescence on it... May I add that I am not a Jew? I belong to that still naively anti-Jewish nation, the Irish. The Irish do not know that Jesus Christ was a Jew. Probably ninety nine per cent of the Nazis are equally ignorant...', comments in red and black ink and pencil, c.70 pages, 4to and 8vo, [1930's/40's]ii) Autograph and typed letters, memos, and postcards signed ('G. Bernard Shaw', 'G.B.S.'), to Hayden Church, some marked 'Private', with typed letters from Hayden Church to George Bernard Shaw, returned with Shaw's responses, and three from his secretaries, with additional fragments, Shaw's comments mostly written in red ink, c.25 items on various subjects, including an early letter warning Church not to bother his wife ('...Do not exploit Ayot St Lawrence and Mrs Shaw any further... unless you want to have an implacable enemy always at my elbow take note to keep on the right side of her... Pardon the hint...'), his play On the Rocks ('...Provisionally you may call it Piffle...'), death ('...I am a member of the Cremation Society... earth burial should be made illegal. As to my ashes I do not care what becomes of them provided they are inseparably mixed with those of my wife...'), Napoleons inability to procreate ('...Something was too short and the seminal jet did not reach the effective place...'), on Elizabeth II ('...constitutional monarchy is one of the professions for which women are specially fitted...'), etc.; with six autograph envelopes, c.30 pages, 4to and 8vo, Ayot St Lawrence, Whitehall Court, SW1 and Malvern Hotel, Malvern, and elsewhere, [11 September 1930 to 4 August 1950 where dated]iii) Group of nine photographs taken by George Bernard Shaw, all but one annotated on reverse by Shaw in ink or pencil ('Ayot St Lawrence/ Shaw's Villa/ called Shaw's Corner', 'Jehanne la Pucelle/ watching for English soldiers/statue by Claire/ Winston', 'Shaw's mulberry tree/ There is another in Malvern but this is his home one', 'Shaw's favourite statue/ of Shakespeare/ 15' high/ bought by him in Frinton/ for twenty three/ shillings'), each with a typed caption by Church attached, 83 x 135mm. and smaller, [no date]iv) Album of press cuttings kept by Hayden Church ('Property of Hayden Church/ Liberal reward to finder'), including letters from John Galsworthy and George Moore, c.48 leaves, red cloth titled 'Scraps' on front board, worn and stained, binding loose, folio (282 x 225mm.), [1913-1917]; with additional loose cuttings of his articles on Shaw from Sunday Despatch, New York Times Magazine, Evening Standard etc., [1929-1947]; and a photograph of Hayden Church and his wife on camels in Egypt at the press opening to Tutankhamun's tomb, 1923; group of articles, writings and press cuttings relating to Church's other work such as 'The Real Annie Oakley' and 'The Strange Case of Dr Minor'; with a copy of George Bernard Shaw: Eight Interviews by Hayden Church selected by Edward Connery Lathem, The Perpetua Press, 2002, limited edition of 500 copies.v) The Plays of Bernard Shaw, 12 vol., inscribed beneath portrait frontispiece in Saint Joan 'G. Bernard Shaw to Hayden Church/ Ayot St. Lawrence 20th October 1945', publisher's limp blue leather, spines gilt (slightly worn at ends), housed in original hinged box with facsimile signature on lid (this near detached), small 8vo, Constable, 1926Footnotes:'I AM NOT RESPONSIBLE FOR YOUR ASSUMPTIONS. THE INTERVIEW IS AT AN END. GOODBYE': THE ARCHIVE OF GEORGE BERNARD SHAW'S 'FAVORITE INTERVIEWER'.For further information on this lot please visit Bonhams.com

Circle of Dorothea Sharp, an unframed unstretched oil on canvas still life study of flowers, 20" x 17" (51 x 43cm), along with two further oil on board still life works, both 8" x 9.5" (20 x 24cm), all unframed, (3).

Charles Pasche, Circa 1961, a still life of flowers in a blue jug, watercolour, signed and dated, 15" x 11.5" (38 x 29cm).

Maria Margarita Iuca (b. 1943) French / Romanian, a still life of flowers, oil on canvas, signed, exhibited in the Prix de Deauville in 1973, inscribed verso, 29" x 36" (74 x 92cm).

Barbara Stewart, Still life with apples, oil on canvas, signed, labels verso,15.75" x 20", (40x50.5cm).

Continental School, 20th Century, a still life of roses in an ornate vase, oil on panel, indistinctly signed, 5.5" x 4.25" (14 x 11cm).

Henry Stanier (Late 19th Century) British, a still life study of fruit and trailing vines, oil on canvas, signed, 20" x 16" (51 x 41cm), in a fine gilt frame.

Ora Lerman (1938-1998) American, Circa 1970, a still life composition of mixed objects, oil on canvas, signed verso, 36" x 48" (92 x 122cm).

20th Century, a still life of flowers and three vases, acrylic, indistinctly signed, 24" x 20" (61 x 51cm).

E. Didier (19th Century) a still life of mixed objects including a gold platter with fruit, oil on canvas, signed, 21" x 25.25", (53.5x64cm).

20th Century Impressionist School, a still life of mixed flowers in a vase, oil on canvas, indistinctly signed, 31.5" x 27.75" (80 x 70cm).

F. Richard, circa 1880's, A still life of mixed flowers and a bird nest, oil on canvas, signed, 10" x 13.75", (25.5x35cm).