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Mid 20th Century, A still life of two fish with tomatoes and a jug, oil on board, 11.25" x 14.25", (28.5x36cm).

Sergey Kovalenko (b. 1980) Ukraine, still life study of bottles and oranges, oil on canvas, signed, 23.75" x 31.5", (60 x 80cm), (unframed).

Rowell Tyson (b. 1926), a still life of flowers and jugs, oil on board, signed and dated 1962, 20" x 30" (51 x 76cm), along with another by the same hand, oil on canvas, signed, 20" x 24" (51 x 61cm), (2).

Chinese School, A still life of a pink roses and a butterfly, watercolour, 7.75" x 5.75", (19.5x15cm) along with two birds on a branch with blue flowers and another bird flying, watercolour on silk, 7.5" x 12.5", (19x31cm) (2).

Ronald Weldon (1925-1994) British, a still life composition of colourful flowers in an interior, oil on canvas, signed with initials, 24" x 20", (61 x 51cm).

Frances Vandeveer Kughler (1901-1970) American, a still life of flowers and fruit, oil on canvas, signed, 24" x 30", (61 x 76cm).

The Great War trio to Second Lieutenant J. C. Barber, 10th (Scottish) Battalion, Liverpool Regiment, who prior to the outbreak of war was a witness to the insurrection in Vera Cruz, Mexico, in April 1914 when the U.S. Marines landed and put it down with the resultant death of some 300 Mexicans and 18 Americans; Second Lieutenant Barber was killed in action in the charge at Hooge on 16 June 1915, shortly after an encounter with Captain Noel Chevasse who went on to win the V.C. & Bar, and M.C. before his own heroic death 1914 Star (3043 Cpl. J. C. Barber. 10/L’pool R.); British War and Victory Medals (2. Lieut. J. C. Barber.) the first very fine, otherwise extremely fine (3) £1,000-£1,400 --- Provenance: Medals to the Liverpool Regiment from the Collection of Hal Giblin, Dix Noonan Webb, July 2004 (£1200 hammer). Second Lieutenant John Christian Barber was born at New Brighton, Cheshire in August 1892, and educated at the Leas School, Hoylake and at Uppingham. After leaving school he secured a position with T. & J. Harrison, one of Liverpool’s leading shipping lines. He was sent out to Mexico and was in Vera Cruz in that country when the U.S. Marines landed to quell the insurrection in April 1914. Newspapers carried his personal account of his experiences: ‘Word passed around that the American Marines were about to land and take the port, no resistance was expected. I saw a small body of Marines going at the double towards the Post Office and the Custom House. The crowd began to yell and jumped on the tramcars. Mexican soldiers assembled at the street corners, and a company of 25 or so took up their positions on the roof and front balconies of our hotel to our horror! There were 30 or 40 foreigners in the hotel. Firing started about noon and I watched with an American from my room for a little while, but it very soon got too hot to stay there with safety. Soon afterwards the first man on the roof was hit badly, and he died about 20 minutes later. The nursing of the dying and the wounded is still a terrible nightmare. Some were shot on the balconies, but the majority on the roof, altogether there were three killed and ten wounded in the hotel, horrible wounds and no trained nurse or a doctor to be had. The streets were impassable for the Mexican Red Cross Corps. We did what we could - disinfecting, plugging and bandaging the wounds. The supply of brandy soon gave out, and some of the poor wretches suffered agonies. Night brought us no rest and although the firing lessened there was no news of the Americans’ progress and the streets were still too dangerous for the ambulance. The whole thing was horrible owing in a large degree to the fact that a few hundred criminals, probably life-sentenced men, were let loose and armed, and they shot at anybody, and also very many of the Mexican officers got very drunk. Looting and drinking, with occasional shooting, went on all night. So far as the Americans were concerned, it transpired that they did not at first land sufficient men, and accordingly could not fight their way into the town until reinforcements had arrived the following day. Short as the battle then was, the din and the damage done were terrific, and the streets were covered with dead. In all some 300 Mexicans and 18 Americans were killed, and it was with great relief that I was able at last to get aboard the Esperanza for Galveston, which normally carried about 150 passengers, but which was now crowded with 400 American refugees from Vera Cruz.’ When he returned in June 1914 he joined the family firm in Liverpool. Volunteering the day after war was declared, he was soon promoted to Corporal in which rank he accompanied the first contingent to France aboard the S.S. Maidan in November 1914. After sterling work in the trenches he was commissioned in the field, rising from the ranks to command a platoon in March 1915. Second Lieutenant Barber was killed in action on 16 June 1915 during the charge at Hooge when he was hit by a shell whilst leading his men. His name is commemorated on the Ypres (Menin Gate) Memorial, Belgium. The following is extracted from The Liverpool Scroll of Fame: ‘Captain Noel Chavasse, who won the V.C. and Bar before he met his own heroic death ministering to the wounded quite regardless of danger, left a brief tribute to Barber’s splendid conduct at Hooge. He met him, it seemed, on his way up to the trenches before the attack, and he was then in the best of spirits. They even joked together, although quite conscious of the grim work before the battalion, and equally conscious that that might be their last meeting. Soon afterwards Barber was fatally hit by a shell whilst leading his men towards the enemy’s trenches with the utmost gallantry. The Germans, unfortunately recaptured the advanced ground where he fell in a counter-attack, and his chum was thus unable to recover his body.’ A superb three-quarter length oil painting of recipient was displayed in the now-defunct Liverpool Scottish Museum, Botanic Road, Liverpool. Sold with copied research and two coloured photographs of the above portrait, one a head and shoulders enlargement.

An interesting I.G.S. 1908-35 awarded to Wapiti Sergeant Pilot, later Commander R.N., G. A. Nunneley [O.B.E.], 39 Squadron, Royal Air Force - undoubtedly a misfit and one of life’s characters, who flew in at least 18 operational sorties on the North West Frontier in 1930, and ‘terrorised’ a cavalry parade with his flying, and the GOC Kohat District with his misplaced words of ‘amour’ India General Service 1908-35, 1 clasp, North West Frontier 1930-31 (505375. Sgt. G. A. Nunneley. R.A.F.) mounted on card for display, good very fine £300-£400 --- George Alan Nunneley was born in Tadcaster, Yorkshire in October 1894. He joined the Royal Navy in September 1907, and was graded as Midshipman by May 1912. Nunneley advanced to Acting Sub Lieutenant in May 1914, and to Sub Lieutenant in March 1915. He moved from post to post, in one case being discharged from a posting ‘under grave suspicion of being guilty of unnatural and immoral acts’, and repeatedly applied for the Air Service. Nunneley advanced to Lieutenant in September 1916. He had applications for employment with the R.N.A.S. and transfer to the newly formed R.A.F. rejected, and was placed on the Retired List in June 1920. However, Nunneley was promoted Lieutenant Commander (Retired) in September 1924, and it was from this rank that he enlisted in the R.A.F. Nunneley enlisted in the Royal Air Force as a photographer under training in December 1925. He had in his former service displayed a keen interest in aviation, and indeed was awarded the RAEC Aeronaut’s Certificate as a Balloon Pilot following training and examination at Roehampton in July 1918. As a consequence he applied for pilot training, and was subsequently posted as a Sergeant Pilot to 39 Squadron (D.H.9a’s) at Bircham Newton in 1928. The squadron carried out intensive training having been warned of an impending move to India. The Squadron was re-equipped with Westland Wapitis, and moved to Risalpur in January 1929. Before long they were involved in operational flying on the North West Frontier, with Nunneley flying in at least 18 operational sorties between May and August 1930. It would appear that Nunneley did not let war get in the way of his life, as recorded in Ken Delve’s book The Winged Bomb - History of 39 Squadron R.A.F.: ‘On 1st January 1877 Queen Victoria was proclaimed ‘Empress of India’, thus all military establishments in India celebrated the Proclamation Day anniversary amidst much pageantry and ceremony. At Risalpur on 1st January 1930, the army units, including the cavalry in their parade uniforms, assembled on the cavalry parade ground about half a mile North of Risalpur aerodrome. The R.A.F. part of the celebration was to be a flypast by 39 Squadron. Prior to the display, Sergeant Nunneley took his Wapiti up for a post-engine-change air test. Unfortunately the engine cut out shortly after take-off with the aircraft heading towards the shining ranks of soldiers on the parade ground. The only clear space was right in front of the parade and so Nunneley positioned his machine for a forced landing. All hell broke loose with terrified horses throwing their riders and bolting off into the surrounding countryside. The dignity of the cavalry was somewhat shaken and it took days to round-up all the horses... Message dropping also had its lighter side. Sergeant Pilot Nunneley had a ‘close friend’ who was a schoolteacher at Kohat and, as the Squadron used the air-to-ground firing range at Kohat, he would often land there to visit the lady. On the return flight to Risalpur he would get his air gunner to drop a message in her garden. Unfortunately, message dropping was a delicate art. On this occasion, Nunneley was too high for accuracy and the message bag, with a three foot long multi-coloured silken streamer, overshot its target by fifty yards and landed in the rose garden of the General Officer Commanding Kohat District. This message, full of terms of endearment, was duly delivered to the GOC by his native gardener. About half an hour later Nunneley landed at Risalpur to be met by the Orderly Officer and Ordely Sergeant with orders to escort him to the CO. The GOC was not impressed with the message and had phoned Risalpur with the Wapiti was still in the air. Sergeant Nunneley was duly ‘de-briefed’!’ On reaching the age limit (39) for a Sergeant Pilot, Nunneley left the RAF to return to the R.N. Retired List in December 1932. Recalled for service with the outbreak of war in 1939, he does not appear to have been particularly enamoured with the Navy’s plans for his employment. He applied for service with the Fleet Air Arm, which was rejected and as a consequence he applied to revert to the retired list for service with the R.A.F. The latter was rejected, and whilst he did not carry out any sea-going appointments he was employed as the Executive Officer of R.N.A.S. Donibristle. Subsequently he served as Commanding Officer of R.N.A.S. Kilindini, Kenya and in the same capacity for H.M.S. Nabbington (Mobile Naval Base, New South Wales, Australia). During this time he held the rank of Acting Commander, which was later confirmed in May 1946. After the war he was employed by the Ministry of Civil Aviation as Aerodrome Commandant Grade II, Edinburgh Airport (O.B.E.). Commander Nunneley died in Truro, Cornwall in June 1974. Sold with copied service papers and research.

Shaykh Muhammad Amir of Karraya or studio (fl. c. 1830-50) The Balfour album 26 watercolours on wove paper, each approx. 27 x 21cm (all portrait format except numbers 9, 12 and 25, landscape; numbers 8, 10, 18 and 24 with J. Whatman Turkey Mills watermarks visible), corner-mounted to varicoloured paper leaves in contemporary green half morocco album, contemporary manuscript titles in ink to foot, many additionally with contemporary English translations of the title in pencil to lower left (given below in round brackets where applicable; supplied titles in square brackets), all annotated lower right 'Shekh Mahomed Ameer, Calcutta at Karyah', 'S. Mohammed Ameer Painter, situated at Kurrya' or similar (except 'A teacher of Hindostanee', in the same style but not annotated). Contents comprise:1. Assabardar (Mace bearer)2. Sotaburdar (Mace bearer)3. Hooka burdar4. Serkar (Native clerk)5. Dewan (A landed proprietor)6. (A teacher of Hindostanee)7. Barber8. Chouruburdar [Fly-whisk wallah]9. Palankeen10. Matoy walla (Sweet meat seller)11. Burkundaz (Watchman)12. Hindoostany Carriage13. Dorcah (Dog keeper)14. Maytur[?] (House sweeper)15. B. Woman [Bengali water carrier]16. Estruwallah [Iron wallah]17. Dancing girl18. Grass cutter19. Abdawr (Wine cooler & table servant)20. Coachman21. Ayah (Ladies attendant)22. Serdawr Bearer (Body attendant & house servant)23. Hurkarah (Letter carrier or message bearer)24. Khansamah (Head table attendant)25. Karachee (Native carriage)26. Bheshtee (Water carrier).With a similar watercolour bound between numbers 22 and 23, titled Hindoostanee Lady, signed 'Zayn al-Abidin musawwir [painter]', 19 x 15.5cm, Qajar-style, heightened with gum arabicNote: Note: A major collection of watercolours by one of the leading practitioners of ‘Company School’ painting for European patrons in 19th-century India. The only sets of any comparable extent which we can identify are a group in the British Library comprising 17 pictures of servants, castes, and tradesmen (Add. Or. 171-187), and the famous Holroyd album, produced for Calcutta merchant Thomas Holroyd, given by him to the Oriental Club in 1839, sold by them in 1961 and now dispersed.Acknowledged as 'by far the most talented and original' of all Calcutta painters specialising in work for the British (Archer, 1972), Shaykh Muhammad enjoyed an enthusiastic following among the city's colonial elite in the second quarter of the 19th century. In 1844 the traveller Fanny Parkes purchased a set of paintings evidently similar to the present album, publishing versions of the serkar, burkundaz and the Bengali water carrier in her 1850 travel memoir, Wanderings of a Pilgrim in Search of the Picturesque.In 2019-20 Shaykh Muhammad's work featured in the Forgotten Masters exhibition of Company School paintings at the Wallace Collection, London, at which six of his paintings were shown. William Dalrymple, historian of British India and curator of the exhibition, paid tribute to his inimitable fusion of European and Indian techniques:‘The Shaykh was equally at home painting a Palladian house or thoroughbred horse, a group of dhobis or a pair of dogs. His single figures are sometimes shown in the Mughal tradition, in profile … but when he wished to, the Shaykh could paint in a more European style than any of his rivals, with low horizons and expanses of blank white space that no Mughal artist would have allowed. He had completely mastered perspective, foreshortening and shading, giving his work a realism and naturalism unique among Indian artists of his generation. Yet while in anatomical accuracy his horse portraits can stand comparison even with Stubbs, there is still an indefinable Indian warmth about his work, a Mughal application of the heart as well as the head'.Unlike his contemporary in Vellore, Yellapah, Shaykh Muhammad is not known to have produced a self-portrait, and little is known of his life or background. His paintings, however, have provoked speculation on his potentially ambivalent attitude towards to his patrons, who are either omitted entirely or, if they are present, are shown with their faces artfully concealed. One such painting, his depiction of a palanquin with a partially visible British passenger, is found in the present album (item 9). If this figure is indeed Thomas Holroyd, as stated in the Forgotten Masters catalogue, Shaykh Muhammad apparently had no reservations about reproducing the likeness for other customers.Provenance: By family repute acquired by Edward Green Balfour (1813-1889), surgeon and naturalist in India; thence by descent. Balfour travelled to India in 1834 as an assistant surgeon in the Madras medical service, and ended his career as surgeon-general in the presidency. An acknowledged polymath, he wrote on subjects including Indian languages and literature and forestry in addition to medicine. His most influential work in his own day was his Enyclopaedia of India and Southern Asia, published at Madras in 1857. Today he is also remembered for his pioneering ecological writings, which explored what he believed to be the 'direct relationship between deforestation, climatic change, and environmental degradation' (ODNB).Literature:Mildred Archer, Company Drawings in the India Office Library (1972), p. 76, cf. catalogue numbers 59-61.idem, Company Paintings: Indian Paintings of the British Period (1992), cat. nos. 80-82.William Dalrymple, ed., Forgotten Masters: Indian Painting for the East India Company (2019), pp. 17 and 122-131, cat. nos. 66-71.

A pair of oil on board portraits of young women signed Halide (?) and dated 1980, 49cm x 39cm together with an oil on canvas still life

Peter de Wint OWS (1784 - 1849) Still Life Study with Earthenware Jugs and a Wicker Basket, 1837, watercolour, 24.5 x 21.5 cm, frame 49 x 45 cmProvenance: collection of Peter Roberts, purchased from Phoenix Fine Art, label verso for The Fine Art Society dated May 1966Footnote: Peter Roberts was born in Shropshire and brought up in the market town of Shrewsbury. He attended the Priory Grammar School before leaving for Cambridge University where he studied Classics and English. He qualified as a teacher, working first at Rydal School in North Wales before being appointed Head of English at Oundle School in 1982 where he remained until his retirement in 2007. Later in life he returned to his roots in Shropshire and spent his time pursuing his love of the arts, and built up a very carefully curated collection of antique furniture, antiquarian books and in particular, 19th Century English Watercolours. Roberts had a keen eye and focused on some of Britain’s best loved landscape painters such as David Cox, John Varley, Paul Sandby, Peter de Wint and William Leighton Leitch.Condition:The painting is a watercolour, framed under glazing - not examined external to the frame. The sheet is in good condition, no obvious evidence for losses or damage, surface appears stable. Paint surface stable, colours good. Frame general wear and tear

William Henry Hunt (1790-1864) Still Life Study of Vegetables with wicker baskets and earthenware vessels, signed lower left, watercolour, 27 x 39 cm, frame 45 x 56 cm Provenance: Deceased Estate

Circle of Tobias Stranovius (c.1684-1756) Still Life of a Goldfinch perched on a peach, with plums, grapes and other fruit and nuts, oil on canvas, 40 x 51 cm, frame 48 x 59 cm Footnote: old handwritten label verso with attribution to Peter III Casteels (1684-1749)

E. DORIAN. (mid 20th Century). A Still Life of mixed flowers in a vase on a ledge, signed, oil on board, 16 1/2 x 12in

A 19TH CENTURY GILT FRAMED STILL LIFE OIL PAINTING BY EDWARD GEORGE HANDEL LUCAS, SIGNED E.G.H LUCAS AND DATED 1874 TO THE LOWER RIGHT CORNER TOGETHER WITH A MODERN STILL LIFE OIL PAINTING (2)

Framed still life print of flowers. Not available for in-house P&P

A framed and glazed limited edition Ruth O'Donnell still life print, numbered and signed by the artist, 1/25. Measures approx 98cm x 83cm including frame. Shipping category D.

A framed and glazed limited edition still life print titled 'Pumpkin' by Richard Bawden, 20/25. Numbered and signed by the artist. Measures approx 97cm x 83cm. Shipping category D.

John Herbert Parkyn (1864-1939), still life of roses, oil on canvas, signed lower right, H.16cm W.75cm

20th century Continental School, still life study of flowers, oil on canvas, 103cm x 82cm 

EUROPEAN SCHOOL, 19TH CENTURYStill life white lilies oil on canvas 31.5 x 39.5cm

WILLIAM CRUICKSHANK (BRITISH, 1848-1922)Still life with flowers and a nest with eggs signed 'W Cruickshank' (lower right) watercolour and gouache 19 x 28cm

ENGLISH SCHOOL, 19TH CENTURYStill life of birds, fruit and other items signed with monogram and dated '1869' (lower right) oil on canvas 26 x 36cm

N*** B*** (EUROPEAN, 19TH CENTURY)Still life of flowers signed with initials and dated 'NB 1881' (lower right) oil on canvas 37 x 47.5cm

A FRENCH ENAMEL PLAQUE OF A STILL LIFELate 18th / Early 19th Century Painted on copper, depicting harvest fruits arranged in a woven basket, mounted with gilt-metal frame, 11.5cm x 14.5cm

VERNON WILDGOOSE (BRITISH, 20TH CENTURY) (2)The First Snow, Fetcham signed 'Vernon Wildgoose' (lower right) and titled (on the backboard) watercolour 24 x 33cm together with A still life of roses in a vase by the same hand (2) ARR

JOHN FRANK SWINGLER (BRITISH, C. 1850-1900)Still life of a glass and fruit signed 'Swingler' (upper right) oil on canvas 23 x 62cm

CARLO ROSSI (BRITISH, 1921-2010)Still life with flowers, fruit and vases signed 'Carlo Rossi' (lower right) oil on board 38 x 52cm ARR

LAJOS LOUIS JAMBOR (ROMANIAN, 1884-1955)Still life with gladioli in an oriental vase signed 'L. JAMBOR' (lower left) oil on canvas 91.5 x 76cm ARR Provenance Sale, Christie's, London, 28 April 2010, lot 291Condition ReportThe canvas has been relined.  Surface tear and paint loss off the left border; scattered surface dirt and areas of craquelure.  Ultraviolet reveals retouching to a likely tear to the centre of the work, to background, upper left and a few further specks of retouching.

AGNES HOLDING (BRITISH, 20TH CENTURY)Still life with fruit signed 'A L Holding' (lower left) watercolour 20 x 30cm

ELIZABETH ROUVIERE (FRENCH, 20TH CENTURY)Still life of flowers in a vasesigned 'Rouviere' (lower right)oil on canvas38 x 46cmARRCondition ReportOriginal canvas.  The paint surface is in good, clean condition.  Framed and ready to hang.

IAN PARKER (BRITISH, B. 1955)Still life with apricots and redcurrants signed 'I PARKER' (lower right) oil on canvas-board 11 x 45cm ARR Provenance The Bourne Gallery, Reigate, from whom acquired by the previous owner; Thence by descent

FOLLOWER OF JOHAN LAURENTZ JENSENStill life of flowers in a basket bears signature (lower left) oil on panel 13 x 18cm

AFTER WALTER LINDNER (2)Pferdegruppereproduction print in colours42 x 31cmtogether with another reproduction print after Lindner of Still life, 40 x 35cm(2)

A fine and large Derby coffee can by John Brewer, circa 1795Painted with a still life of an upturned basket, a watering can and a bunch of grapes, a small bird perched on the strawberries which spill from the basket, framed within a formal gilded border and reserved on a green ground, 7.4cm high, crown, crossed batons and D mark and pattern 245 in puceFootnotes:ProvenanceDoris Wheatley CollectionDaniel CollectionDerek Gardner CollectionG C Bond CollectionThe description of this pattern in the Derby pattern book reads 'Fruit by Complin with Tom Tit and Bull finch before Dark Landskip'. However, the hand of John Brewer appears to be more likely for this example.For further information on this lot please visit Bonhams.com

A very rare façon de Venise serpent-stemmed winged wine flute, 17th centuryThe tall conical bowl resting on a collar above a short plain section, the stem formed of a meandering rope of clear glass containing spiralling threads in opaque white and iron-red, the sides applied with pincered 'wings' in clear glass, above a further short plain section and small basal knop, the conical foot neatly folded at the rim, 22.8cm highFootnotes:ProvenanceChris Crabtree CollectionA similar but smaller flute was sold by Bonhams on 1 December 2021, lot 13, where it is illustrated alongside a still life painting of circa 1675 by Jacob van Walscapelle (1644-1727) featuring a comparable flute.For further information on this lot please visit Bonhams.com

Sunderland Rollinson,Landscape, at dawn,signed and dated 1948, watercolour,38x51cm,two other watercolours, a sea fret and still life of flowers in a vase, each mounted, unframed,together with Sunderland Rollinson,Steam locomotive on a viaduct,signed, en griseille watercolour,23x31cm, unframed.Qty: 3

A E Boulton, Pair of still life of flowers, 1950s,oil on canvas, signed, dated, each canvas 53x36cm.Qty: 2

JWS,Still life of Lilies,watercolour, signed with initials and dated 98,39x29cm.

After G J J Van Os,Still life of fruit,oil on board(?),47x56cm.

Continental School : Still life with flowers and fruit, watercolour, 63 cm x 46 cm

Continental School : Still life with flowers, oil on canvas, 63 cm x 53 cm

Records : BLUR - various 12" singles & albums inc Modern Life is Rubbish - super original issues (5) inc 2 x 12" still sealed

A painted plaster relief of the Madonna and Child, 80cm h, a Still Life with Flowers, oil on canvas, signed D Richard, bed canopy, mirror, etc

Celia Russell (b. 1943) - Still Life of Country Flowers and Fuchsias, signed in pencil, watercolour, 52.5 x 61cm Good condition

Brian Davies – Still Life with Redcurrants, White Grapes, Half a Peach and a Roemer, signed, oil on canvas, 19 x 24cm Good condition

Miscellaneous pictures and prints, including a watercolour of St. Basil's Cathedral, Moscow, 18 x 14cm, watercolour still life of seashells, a framed set of three WWI silks, etc

Vincent Clare (1855-1930) - Still Life with a Bird's Nest and Blossom; Still Life with Flowers before a Woodland Bank, two, both signed, watercolour, 14.5 x 22cm and 15 x 22cm (2) Good condition, fresh and unfaded, in the original late Victorian gilt frames. Note small discrepancy in frame sizes corresponding to that of the drawings

Modernist School, 20th c - Still Life with a Plate of Fish and a Loaf of Bread, palimpsest portrait to verso, oil on canvas, 43 x 53cm, an abstract study, 39.5 x 30cm, further pictures by different hands, mixed subjects, dates and media, (10) Mixed condition. The catalogued palimpsest portrait over-inscribed.

† RICHARD ROBBINS; oil on canvas, still life flowers 'Marguerite II', signed and with Phoenix Gallery, Highgate label verso, 80 x 74cm, framed.

† DOROTHY GARRETT; oil on board, still life, 'Flowers from the Garden', signed, 74 x 48cm, gilt frame.Provenance: This lot is accompanied by the candlestick that features in the painting.

† PLEUN BETIST (DUTCH, 1894-1971); oil on canvas, still life with flowers in a jug, signed, 60 x 79cm, in gilt frame.

20th century Oil on canvas Still life depicting a bouquet of roses in a blue vase, indistinctly signed 'Darhlius' lower left, 44.5cm x 60cm 20th century schoolOil on canvasEuropean village scene, indistinctly signed 'Auilnie' (2) 

A pair of pears, two still life paintings, each depicting a conference pear, acrylic on canvas, each indistinctly signed, 12 x 10cms and 11 x 10cms, matching gilt frames. (2)

the way it was. Dewi Lewis Publishing. Hc w. dust-j. New, still shrink wrapped. (2) Jazz. Amst., Bezige bij, n.d. (1959). Hc. Sm. defects. (3) Sweet Life. Ibid., idem, 1966. Hc. (4) Bagara. (Cape Town/Pretoria, H.A.U.M., n.d.). Hc w. (sl. worn) dust-j. Incl. rare booklet. -and 2 others. (total 6)

DE LA CRUZ - SPANISH - STILL LIFE WITH FRUITS OIL ON CANVAS 73CM X 92CM

THOMAS COLLINS (D1893) PAIR OF OILS ON CANVAS ''STILL LIFE OF PANSIES'' SIGNED & DATED 25CM X 30CM - VERY GOOD ORIGINAL CONDITION

BELA BALOGH SIGNED & FRAMED STILL LIFE OF FRUIT & FLOWERS 60CMS (H) X 90CMS INNER FRAME

A framed woolwork study of flowers; K A Head, watercolour study; Wallis, oil still life study of flowers; and an abstract study initialled D.S. and dated 2000

FOUR 19TH AND 20TH CENTURY WATERCOLOURS, comprising Ronald Gray (British 1868-1951) two still life studies signed and dated 1944 and 1945, largest approximately 20cm x 29cm, together with two views of the Lake District circa 1857, signed W. H. Green, approximate sizes 18cm x 31cm (4)