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After Derrick Greaves (1927-2022) - still life of a hand placing a flower into a vase, signed artist's proof also dated 75 (1975) and numbered 34/150, coloured aqua tinted etching, 21.5" x 16.5"

A large gilt and hessian framed oil on canvas still life with flowers in a vase - indistinctly signed

Freda Elbourne: a gilt framed gouache still life entitled 'Blackberry and Apple'

Ling: a framed oil on board still life with vase of daffodils - signed

D. Thackeray: a framed watercolour still life entitled 'For the Love of a Rose' - details verso

Bettie Butler (nee Collins): a box framed painting on ceramic panel abstract still life with pears - signed with initials and with further details verso

Twentieth-century European School, still life with mixed flowers, oil on canvas, signed indistinctly lower right, 76 x 58cm, in a gilt foliate frame.

European School, c. 1900, still life with flowers, oil on canvas, signed indistinctly top right, 29 x 44cm, framed, bearing Phillips label to the reverse.

§ Raymond Campbell (British, b. 1956), still life with mandolin, books and East Asian vase, oil on canvas, signed lower left, 51 x 76cm, in a gilt foliate frame.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Raymond Campbell (British, b. 1956), still life with teddy bears and cricket bat, oil on canvas, signed lower right, 61 x 76cm, framed. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Raymond Campbell (British, b. 1956), still life with teddy bears and toy robot, oil on canvas, signed lower right, 50 x 61cm, framed.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Raymond Campbell (British, b. 1956), still life with champagne bottle and oysters, oil on canvas, signed lower right, 45 x 61cm, in a gilt foliate frame. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

Oliver Clare (British, 1853-1927), still life with apples and grapes, oil on canvas, signed lower right, 18 x 23cm, framed.Condition Report: Generally good condition, with some light wear and some signs of florescent areas under UV as photographed.

Paul Morgan (British, b. 1940), still life with fruit and wine, oil on canvas board, signed lower left, 48 x 39cm, framed, labels to the reverse.

Oliver Clare (British, 1853-1927), still life with apples, grapes and strawberries (1923), oil on board, signed and dated lower right, 19 x 27cm, in a gilt foliate frame.Condition Report: Good condition overall, with a few surface scratches an no obvious signs of restoration under UV.

§ Raymond Campbell (British, b. 1956), still life with teddy bear and paint brushes, oil on canvas, signed lower right, 40 x 50cm, framed.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Raymond Campbell (British, b. 1956), still life with teddy bear and books on shelves, oil on canvas, signed lower right, 50 x 40cm, framed.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Raymond Campbell (British, b. 1956), still life with strawberries and pear, oil on board, signed lower right, 13 x 21cm, framed. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

Maime Gerrard (British, twentieth century), still life with plums and cherries, oil on board, signed lower right, 16 x 23cm, framed, with two oil on panels by the same hand depicting reclining female nudes, 16 x 28cm and 17 x 28cm, framed. (3)

§ Raymond Campbell (British, b. 1956), still life with grapes and pear, oil on panel, signed lower right, 24 x 19cm, framed. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Raymond Campbell (British, b. 1956), still life with blow-torch and matches, oil on panel, signed lower left, 35 x 30cm, framed. Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

C. D. Clutterbuck. Still Life of Summer Flowers with a Parrot. Watercolour, signed lower right. 66 x 51cm.

A framed reverse painting on glass, still life bowl of cherries along with a print of a Victorian Valentine's day card. H.36 W.51cm (largest)

Irma Stern (South African, 1894-1966)Girl with Jug signed and dated 'Irma Stern/ 1961' (lower left)oil on canvas 72 x 53cm (28 3/8 x 20 7/8in).(framed)Footnotes:ProvenanceA private UK collection. The present work displaying a girl holding a ceramic jug was executed by the artist following her travels to Spain in 1960. With an interest in ceramics, often incorporating them into still lifes and creating physical pottery herself, we a presented here with a beautiful fusion of this passion with her captivating portraiture. Accomplished with a muted tonal palette, Stern draws us into the intimacy of the portrait with a focus on the subject who gazes back at us. After receiving the Guggenheim Foundation National Award for South Africa in 1960, the present work was painted at a time when the artist had received great recognition for her work. Furthermore, upon arriving in Alicante on Spain's Costa Blanca between December 1960 and June 1961 with her companion Dudley Welch, she was affectionately acknowledged by the local Alicante press as 'La Picasso'. This was not only due to her profession, but also the extravagance of the hotel, Hotel Carlton, as recorded in a letter to Richard and Freda Feldman (February 1961). Indeed, to be linked to Picasso during these years was received by the artist with great honour, as Picasso was already, by the 1960's, acknowledged as one of the greatest artists of the century.BibliographySandra Klopper, Irma Stern: Are You Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), p. 207.For further information on this lot please visit Bonhams.com

Irma Stern (South African, 1894-1966)Meinkie with Pumpkin signed and dated 'Irma Stern/ 1948' (upper left)oil on canvas56.7 x 48.9cm (22 5/16 x 19 1/4in).(framed)Footnotes:ProvenanceA private collection, USA.ExhibitedCape Town, Burg Street, Association of Arts Gallery, 8-20 March 1948, no 6.In her exhibition at the Association of Arts Gallery, Burg Street, Cape Town, 8 – 20 March 1948, Irma Stern included two paintings of a certain Meinkie, both priced at the relatively low sum of 90 guineas. #25 is simply called Meinkie in the exhibition list. But #6 is called Meinkie with Pumpkin which obviously refers to the present work. Confirmation that this work indeed formed part of this show is to be found in a photograph in Irma Stern's Scrapbook of the exhibition installation in which it is shown on the back wall. Much of the March exhibition, including Meinkie, now #17, was shown again at the Constantia Gallery, Johannesburg, in April 1948. Although there is no record of sales from the Association of Arts exhibition in Irma Stern's Cashbook, the absence of Meinkie with Pumpkin from this later exhibition suggests that the painting was sold at or soon after the original Cape Town show. The present owner, who is American, recalls that his late father acquired the painting on a business trip to South Africa. Given the nationality of the purchaser, it is probably no coincidence that, as the Cape Times reported on March 20 1948, Irma Stern believed at this precise time she would soon have an exhibition in New York City. The artist's Cashbook records that the second Meinkie painting was sold by the Constantia Gallery in April 1948 at the reduced sum of £80: this work appeared on the Cape Town art market in November 2015. The name Meinke (diminutive Meinkie) was sometimes used by German-speaking South Africans to describe Dutch or Afrikaans-speaking women of exceptional courage. The name, therefore, may have been Stern's nickname for a person of colour from District 6 or Bo-Kaap. The name appears twice in Stern's correspondence with her Johannesburg friends, the Feldmans, both times in relation to her dismissal from Stern's service towards the end of 1956, together with Charlie, Stern's long-suffering cook. At this time, therefore, Meinkie was Stern's domestic worker rather than a professional model. In fact, Stern's Cashbook records no payment to Meinkie as a model at any time between 1948, when the two Meinkie paintings were made, and 1956 when she was sacked. Such payment may have been concealed in the substantial figure of £20 in January 1947 for 'modelles Malay and Indian', but it is more likely that Stern simply called Meinkie to her studio as part of her job. Shortly before the Meinkie paintings were made Thelma Gutsche wrote about 'those conspicuously indigenous groups, the Malays and Cape Coloured' who 'drift inconsequently among her household'. And the fluidity of roles in Stern's ménage is confirmed in a report in the Cape Argus 12 March 1955:'Irma Stern has been keeping Asa, the pretty Malay housemaid, from her brooms and dusters and letting her pose for a portrait in a graceful white yashmak.'Strictly speaking, neither the painting of Asa, nor those of Meinkie, were actually portraits in the sense that they were commissioned by the sitter or that the sitter had any interest at all in the outcome. They are studies in which the artist imposed her aesthetic and social concerns on the sitter for her own benefit and that of her privileged white clientele. At this time, Stern made several studies of what Thelma Gutsche called 'quite unpicturesque types' seemingly in response to growing criticism that her paintings of African people were idealised and unreal. Stern's decision to paint Meinkie either peeling vegetables or clasping a pumpkin invites consideration of the nature of domestic work - perhaps servitude - which thought may be found in the expression and attitude of the subject in both paintings. An anonymous reviewer of the Cape Town exhibition in the Cape Argus March 8, 1948, remarked that a loose, painterly style, and a resonant colour palette is appropriate to such interpretation, and continued:'It would be absurd to demand precision from a volcano; and if Miss Stern chooses on occasion to subordinate intellect to emotion, and the sensitive to the spontaneous, the dynamic quality of her work is a triumphant vindication of such a choice.'We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographySandra Klopper, Irma Stern - Are you Still Alive? Stern's Life and Art seen through her Letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), pp.183 and 185.Thelma Gutsche, Ph.D, 'Irma Stern – Ambassador for Africa', The Outspan, October 31 1947, pp.39-41.Irma Stern's Cashbook, National Library of South Africa, Cape Town, MSC 31, 3.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

Gerard Sekoto (South African, 1913-1993)Donkeys signed 'G SEKOTO' (bottom right); bears 'South African Association of Art' label (verso)oil on canvas49.4 x 59.8cm (19 7/16 x 23 9/16in).(framed)Footnotes:ProvenanceThe collection of South African Railways and Harbours;Mrs M. G. Morgenroth, South Africa;A private collection.Exhibited Pretoria, Christi's Gallery, Sekoto: Solo Exhibition, 25 April-12 May 1947, no. 7.London, Tate Gallery, Exhibition of South African Art Abroad, 20 September 1948.Amsterdam, Stedelijk Museum, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, 10 December 1948.Paris, Musée Galerie, Overseas Exhibition of South African Art, February 1949.Ottawa, National Gallery of Canada, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, with a Prelude of Historical Paintings, 21 April 1949.Washington D. C., National Gallery of Art, 31 July 1949.Cape Town, South African Association of Arts, Exhibition of Contemporary South African Paintings, Drawings and Sculpture, 1948-49, no. 102.LiteratureLindop, B., Gerard Sekoto (Randburg, SA, 1988), (illustrated) bears the title 'Man in a Donkey Cart', pp. 176-177. A label on the back of this important South African painting by Gerard Sekoto formally identifies it as Donkeys. The Donkeys was listed as #7 at Sekoto's solo exhibition at Christi's Gallery, Pretoria, between 25 April and 12 May 1947, which suggests that it was painted shortly before. The artist noted that he made successful sales at both this exhibition and the one in July-August 1947 at the Gainsborough Gallery, Johannesburg, so well, in fact, that he was able to fund his forthcoming trip to Paris and self-imposed exile.At, or soon after, the Christi's exhibition, Donkeys was acquired by the South African Railways and Harbours, the collection of which is recorded on the same label on the reverse of the painting which further states that it lent the work to the 'Exhibition of South African Art Abroad' in the following year. The fact that the South African Railways and Harbours also bought two works at this exact time from Irma Stern suggests that Donkeys was destined (as the Stern works) for the same proposed South African Railways Hotel. The 'Exhibition of South African Art Abroad', organised by the South African Association of Arts, and sponsored by the South African Government, opened at the Tate Gallery, London, in September 1948 and travelled to several European and North American countries before returning to Cape Town in 1949-50. Sekoto was represented by four works in this show, Sophia Town, Evening, the much-celebrated Sixpence a Door, Three Picanins, and Donkeys. The painting is listed in the exhibition catalogue, under the slightly different title 'Exhibition of Contemporary South African Paintings, Drawings and Sculpture, Cape Town', 1948-49, number 102. Donkeys was de-accessioned by the South African Railways and Harbours when the 'palatial' hotel project was abandoned, resulting in the present owner's family acquiring the work at auction in Johannesburg in 1954-55.Sekoto painted Donkeys in Eastwood, an African township outside Pretoria, where the artist spent almost two years living with his mother, stepfather, and other family members before leaving for Europe in September 1947. This period is generally understood to be the most productive and successful period of his life. As well as several portraits of family members, Sekoto made remarkable still lifes such as Mine Boy and many paintings of Eastwood township life inter alia The Kitchen Table, a domestic interior (sold by Bonhams in 2014) and Seated at Table. Sixpence a Door represents a street performance; and Gossip at Eastwood and Raw Light (also sold at Bonhams in 2019) represent social interactions on the streets of the township. The Donkey Cart and the present work, Donkeys, celebrate an old-fashioned, even picturesque mode of transport.The complete absence of white people from these scenes is testimony to the segregation of South African communities that was soon to be brutally reinforced under Apartheid. But Sekoto, like George Pemba in the Eastern Cape, represents a harmonious and self-contained social order. Both artists, of course, depended on a white clientele which would have doubtless preferred a positive over a negative view of South African township life. But it has been argued that, in context, these works constitute a form of protest in that not only do they replace the primitivizing stereotype of rural African people that was still popular with white artists such as Irma Stern with a contemporary view of urban black life, but they also tend 'to humanise the world of the anonymous masses for the white viewer'. However, there can be no doubt that Sekoto and Pemba took both pride and pleasure in representing the communities where they lived. Sekoto's account of the origin of Donkeys, for example, is entirely positive:'At Eastwood I was relaxed. I could work hard at my painting. I was not worried by all the people and things around me as I had been in the big cities. The people in Eastwood did not mind when I looked at them. In fact, some people were happy to model for me.There was a man who sold water to the people in the township. He had a tank of water, which was pulled by donkeys. He was very happy for me to make sketches of him. Later I painted a picture of him.'Within a few years, Eastwood, like Sophia Town in Johannesburg, and District 6 in Cape Town, where Sekoto had previously lived and worked, was demolished by Apartheid urban planners. The present work represents the quality of life, no doubt impoverished but certainly dignified and vital, that was annihilated in the process.We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyBarbara Lindop, Gerard Sekoto (Johannesburg: Dictum Publishing, 1988), pp.24-26.Irma Stern's Cashbook, National Library of South Africa, Cape Town, MSC 31, 3, p.89.The Cape Times, 'Pictures for South African Railways Hotel', (13 March 1947)Lize van Robbroeck, ''That Magnificent Generation': Tradition and modernity in the lives, art and politics of the first modern black painters', in, Visual Century: South African Art in Context, Volume 1, 1907-1948, ed. Jillian Carman (Johannesburg: Wits University Press, 2011), pp. 114-133.Gerard Sekoto, My Life and Work, (Cape Town, Claremont: Viva Books, 1995), p. 57.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

Pieter Willem Frederick Wenning (South African, 1873-1921)An alley in the Malay Quarter, Cape Town signed 'WENNING' (lower right)oil on canvas 31 x 22cm (12 3/16 x 8 11/16in).(framed)Footnotes:ProvenanceA private collection, South Africa.LiteratureScholtz, J.du P., D.C. Boonzaier En Pieter Wenning, Verslag van 'n vreiendskap, (Cape Town: Tafelberg, 1973), p. 106. (illustrated)Born and raised in the Netherlands in 1873, Wenning had all the attributes of a Western painter and his distinctive style was distinguished by his still life's and 'plein air' scene paintings of both urban life and natural landscapes. After immigrating to Pretoria in 1905 with the aim to find better work; selling books, stationery and art supplies to support his family, Wenning became involved with The Individualist's art group around 1911. On travelling for work in 1913 to the Cape Province, Pieter Wenning formed a strong relationship and worked closely with Daniël Cornelis Boonzaier. Boonzaier would influence and support Wenning, ensuring he was able to pursue his natural artistic talent with the help of the Cape Town artistic community. This support in both moral and financially would ultimately lead to Wenning's return to Cape Town in 1916 where he executed many Impressionist style paintings of the Malay Quarter, considered to be the slum area by the white community. Popular in the Malay Quarter area of Cape Town, Wenning often painted street scenes such as the present lot. He became widely known by the locals as Ou Baas. This term, granted to men who generally had beards like Wenning, and was considered to be a term of endearment in the community. This acknowledgement may contribute to the idea of Wenning's affection for the area and community, both aesthetically and personally.BibliographyMarco Wenning, My Father, (Cape Town: Howard Timmins, 1976), pp, 62-64.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

Irma Stern (South African, 1894-1966)'Palm Trees', Zanzibar signed and dated 'Irma Stern/1945' (lower left)oil on canvas 69.8 x 69cm (27 1/2 x 27 3/16in).within artist's original Zanzibar frame.Footnotes:ProvenanceAcquired at the Argus Gallery in 1946 by Mrs Schutz;By direct descent to Mrs Peta Schutz;A private collection.ExhibitedCape Town, Argus Gallery, 1946.In a review of her 1946 exhibition at the Argus Gallery, Cape Town, of which the present work was a feature, the Cape Times review began with the emphatic statement:Rarely in Cape Town's art history has there been an exhibition of contemporary South African painting of such importance.(P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p. 14).History, of course, has tended to confirm the significance of Irma Stern's work from this trip. The artist herself noted 'the first class success' of the show in a letter to her Johannesburg friends, the Feldmans, on March 10 1946: 'Having about 3-400 people in daily and just when I want peace at home – some more to come and buy from studio'. Previously she had written from Zanzibar that 'I have had a most successful time here'. And she wrote that she was 'conquering new ground for my work and development': she even anticipated that some people would be 'shocked to death about my work', presumably indicating the 'vigorous brush work and lavish pigment' that one enthusiastic reviewer applauded in her landscapes and figure studies at this time (see below). In fact, this 'development' proved to be the foundation of the aesthetic achievement of her Zanzibar works. While the sense of increased proximity – or presence - of Stern's figures distinguish the work of her second Zanzibar trip from the first, 'Palm Trees', 'Zanzibar Garden', 'Seascape', and a few other works, introduce a new planarity into her method of painting. In 'Palm Trees', the tall forms of the coconut palms stretch from the bottom to the top of the format focussing attention on the very surface of the work where impasto paint and broken lines flicker in the light. Similarly, in 'Lelemama Wedding Dance' (sold at Bonhams in 2021), also from her second visit to Zanzibar, Stern concentrates attention on the picture plane to suggest the dissolution of form into a sense of shimmering movement in the textiles and jewels of the dancers. This attention to surface is one of the principal concerns of Modernism, from the Impressionists to the Abstract Expressionists: compare the 'Palm Trees' with Monet's 'Poplars'. Although Irma Stern rejected abstraction with contempt, her focus on surface in these works amounted to a neglect of both space and topography that is actually a form of abstraction. On this basis, within a short time, Stern was to reject the sheer physicality of subject-matter in a search for a spiritual or symbolic interpretation of the world. Family tradition held that this beautiful painting represents a Congo Landscape and that it was acquired at an exhibition at the Argus Gallery, Cape Town, in 1946 or 1947. The title of the work has been incorporated into the major monograph on Irma Stern, but the difference in date between the two exhibitions is crucial. The 1947 exhibition was indeed largely devoted to work that Irma Stern had made during her second expedition to the Democratic Republic of the Congo between April and June 1946. But the earlier exhibition in March 1946 consisted mostly of work done by Stern on her extended second trip to Zanzibar between late July and the end of October 1945. In fact, Stern's Cashbook for March 1946 records that she sold #5 Palm trees, oil from this exhibition to the previous owner's family for £70 proving beyond doubt that the work was made in Zanzibar. Moreover, a review in the Cape Times, after praising the splendid figure studies that constituted the major part of the exhibition, confirms the origin of this painting:Vigorous brush work and lavish pigment account for the effect of shimmering heat in 'Zanzibar Garden' and 'Palms' and reflect the exuberance of the local flora in the still life subjects. (P.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946), p.14.)Significantly, the two works picked out in this excerpt are very similar in size and have almost identical frames. Although Stern made little reference to the Zanzibar landscape in either her book Zanzibar (1948) or her correspondence with the Feldmans, Palm Trees was certainly painted on the island. We are grateful to Professor Michael Godby for the compilation of the above footnote.BibliographyP.H.W., Irma Stern's Notable Exhibition: Recent Canvases from Zanzibar, Cape Times, (2 March 1946)Marion Arnold, Irma Stern, A Feast for the Eye, (Vlaeberg: Fernwood Press, 1995), pp. 81- 84.National Library of South Africa, Cape Town, MSC 31,3, Cashbook, p.83.Irma Stern, Zanzibar, (Pretoria: J.L. Van Schaik, 1948) Sandra Klopper, Irma Stern, Are you Still Alive? Stern's life and art seen through her letters to Richard and Freda Feldman, 1934-1966, (Cape Town: Orisha Publishing, 2017), pp. 129-130.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

Prunella Clough (British, 1919-1999)Still Life with Vase signed 'Clough' (lower right)watercolour on paper25 x 27.5cm (9 13/16 x 10 13/16in).Painted circa 1960Footnotes:ExhibitedLondon, England & Co., Summer Exhibition, July 1988 (catalogue not traced)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

Alan Furneaux (British, born 1953)Mousehole Still Life With Yellow Jug and Bottle Brush signed 'A Furneaux' (lower right); titled and dated 'Mousehole still life/with Yellow Jug/and bottle Brush/2019' (on canvas verso)oil on canvas76 x 61.5cm (29 15/16 x 24 3/16in).(unframed)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

Royal Doulton Burslem Hand Painted Twin Handled Globular Shape Vase, still life flowers and decoration on a blush ivory ground, embellished in gold; impressed no. 1251 to base; 7.75 inches high, excellent condition

Irene Klestova (French/Russian 1908-1989) - A Still Life of Dark Red, Pink & White Roses in a Sevres Vase. Oil Painting on Board. Image size 9" x 7" (22.5 x 17.5cm) Overall size 15" x 13" (37.5 x 32.5 cm) Irene Klestova was born in Saratov in 1908 and emigrated to France in 1926, her husband Lev Tchistovsky was also a well known artist and they were friends with Andre Breton and Tamara De Lempicka. A superb example of her work. Provenance - Formerly with the Unicorn Gallery Cheshire. Label Verso. Excellent condition.

ANGELA TIATIA (b.1973)STILL LIFE WITH DAFFODILSsigned TiaTia lower rightoil on paperimage: 55.5 x 41cm; 22 x 16 1/4inframed: 65.5 x 50.5cm; 25 3/4 x 20in*sold without reserve

ARR BERNARD MYERS (1925-2007) STILL LIFE WITH SPANISH POPPIES IN DECORATIVE BLUE VASE signed B Myers lower right pastelimage: 54 x 73.5cm; 21 1/4 x 29in sheet: 56 x 76cm; 10 x 14inunframed Provenance: Artist's Estate (labelled with the studio inventory number 1051 on reverse)Very good fresh condition, vibrant colours.

ARR BERNARD MYERS (1925-2007) STILL LIFE WITH APPLES AND AN ORANGE signed B Myers lower left pastel on paperimage: 50.5 x 70cm sheet: 56 x 76 cm; 10 x 14 inunframed Provenance: Artist's Estate (labelled with the studio inventory number 1057 on reverse)

BRITISH SCHOOL (20th CENTURY)STILL LIFE OF ORCHIDSoil on canvasimage: 77.5 x 62cm; 30 1/2 x 24 1/2inframe: 90.5 x 75cm; 35 1/2 x 29 1/2in*sold without reserve

ARR BERNARD MYERS (1925-2007) STILL LIFE WITH HYACINTHS AND PEARS signed B Myers lower right pastel sheet: 56 x 76cm; 10 x 14inunframedProvenance: Artist's Estate (labelled with the studio inventory number 1046 on reverse)

ARR DAVID SINCLAIR, R.S.W. (b.1937)STILL LIFE WITH AN ORIENTAL BOWL AND EGGSHELLS and STILL LIFE WITH GRAPES AND EGGSHELLS (a pair)each: signed D.Sinclair lower leftoil on canvaseach: image: 29 x 24cm; 11 1/2 x 9 1/2ineach: framed: 48 x 43.5cm; 19 x 17 1/4in(2)Provenance:Ewan Mundy Fine Art, Glasgow*sold without reserve

ARR BERNARD MYERS (1925-2007) STILL LIFE WITH RED ROSES signed B Myers lower left pastel image: 52 x 71cm; 20 ½ x 28in sheet: 56 x 76cm; 10 x 14inunframed Provenance: Artist's Estate (labelled with the studio inventory number 1047 on reverse)Very good condition, vibrant colours. Inscribed Bohun Gallery in margin.

19th Century British SchoolAbundant Still Life with Fresh Fruit, Marigolds, and Sweet Peas,oil on board,49.5 x 39.5cms, framed.

20th Century French School, A still life of flowers in a jug, indistinctly signed and dated 1940 top left, 21.5" x 15", (54 x 38cm).

Arturo Peyrot (1908-1993) Spanish, 'Bottiglia Rossa' a still life study, mixed media on canvas, signed also inscribed verso, 24" x 28.75", (61 x 73cm).

Marcel Burtin (1902-1979) French, a still life composition, oil on canvas, signed, 39.5" x 19.75", (100 x 50cm).

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

19th Century English School, a still life of mixed flowers, oil on canvas, 30" x 25", (76 x 64cm), in a Regency frame.

Carolyn Sergeant (1937-2018) British, a still life of fruit in a basket and other objects, oil on canvas laid down, signed with initials, 9" x 12", (22.5 x 30cm).

Howard Morgan (1949-2020) British, a still life of daffodils in a pottery jug, oil on canvas laid down, 10.5" x 8.5" (27 x 22cm).

Giovanni Barbaro (1864-1915) Italian, A still life of mixed fruit with a bottle, watercolour, signed, 32.5" x 15.25", (83x38.5cm).

20th Century School, a still life study of a butler's sink, oil on canvas, 20" x 24" (51 x 61cm).

Kalman Kemeny (1896-1994) Hungarian/British, a still life of flowers in a green vase, oil on canvas, signed, 24" x 20", (61 x 51cm).

18th Century Continental School, a still life of mixed flowers and a bird nest, oil on panel, 13" x 11", (33 x 28cm).

Camilla Gobl-Wahl (1871-1965), a still life of oranges and flowers, oil on canvas, signed, 27.5" x 39.5", (70 x 100cm).

Follower of Fantin Latour, A still life study of roses, oil on board, 8" x 13", (20x33cm).

20th Century. A still life study of mixed flowers in a glass vase on a marble ledge, oil on panel, signed 'J. Elisabeth', 20" x 16", (51x40.5cm).

19th Century Continental School, a still life of mixed flowers in a marble urn, oil on canvas, 24" x 36", (61 x 91.5cm).

Alfred Rouby (1849-1909) French, a pair of oil on mahogany panel still life paintings of fruit and kitchen objects, signed, each 5.5" x 10.75". (14 x 27cm), (2).

Paul Lucien Maze (1887-1979) French/British, a still life of white flowers in a green vase, pastel, signed, 8" x 9.5", (20 x 24cm).

William de Belleroche (1912-1969), a tabletop still life study of mushrooms and vegetables, mixed media, signed, 25" x 37.5", (64 x 95cm).

Oliver Clare (1853-1927) British, A still life of a bird nest with eggs and pink and white flowers, oil on canvas, signed, 8" x 6", (20x15cm).

A.B. Pearce, A still life of a Chinese vase, watercolour, indistinctly signed, 10.25" x 7.25", (26x18.5cm).