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Ann Crawford, Still Life with Croissant, Coffee, Butter and Jam, oil on canvas, ebonised glazed mounted frame,Signed Ann botom left, (37cm x 27cm)

Eelke Jelles Eelkema (Dutch 1788-1839): Still Life of Jugs and a Helmet, watercolour signed 37cm x 48cmCondition Report:Good condition and colour

James Hewlett (British 1768-1836): Still life of Roses and Convolvulus, watercolour and gouache signed and dated 1832, 21cm x 17cm Condition Report:Good condition and colour

Lucien Genin (French 1894-1953): Still Life Jug of Flowers, oil on canvas signed 34cm x 26cmCondition Report:Good condition, well presented ready to hang

HA Carman (British fl.1867-1873): Still Life of Fruit and Birds' Nests, pair oils on canvas signed dated 1869 and inscribed 'Crayford' 24cm x 34cm (2)

John F Smith (British 1934-): Still Life with Grapes and Peaches, oil on board signed 39cm x 29cmCondition Report:Very good condition - ready to hang

Evelyn Chester (British,1875-1929), a still life study of fruit, flowers and nesting eggs, oil on board, signed,11.5x19ins, framed.

Dutch School, 20th century, still life of flowers in a vase, oil on canvas, signed 'Han Meidam' and dated '44, 23x27ins.

Late Victorian still life oil on canvas in period gilt frame, together with a modern painting of a stable interior in a heavy moulded frame.

Chris Silver (Scottish Contemporary); Still life study of garden flowers in a vase, watercolour, signed in pencil, 42cm x 51cm

George III style mahogany Trumeau type mirror, arched top painted with still life study of flowers and gilt shell crest above rectangular plate, H108cm W30cm

E. Engelhard (Continental, C20th); Still life study of Poppies and other flowers in a green glass vase, oil on board, signed, 48cm x 68cm

Chris Silver (Scottish Contemporary); Still life study of flowers in three vases with a blue and white bowl, watercolour, signed in pencil, 42cm x 51cm

John Bulloch Souter (1890-1971) - Still life white roses in a vase, oil on artist board, signed upper left, 30 x 41cm

§ John Lancaster (contemporary) - Still life study of wildflowers, oil on board, signed and dated 1977 lower right, 31.5 x 39cm

Lucette de la Fougere (1921-2010) - a collection of eleven various unframed still life studies, each oil on artist board, variously signed, the largest 46 x 33cm

§ John Lancaster (contemporary) - Still life study of wildflowers, oil on board, signed and dated 1973 lower right, 31 x 38cm

XIX CENTURY ENGLISH SCHOOL Still Life of Fruit in a Basket, oil on canvas, signed indistinctly lower left, 45 x 34cm.

RICHARD HAMBLETON (1952-2017)Standing Shadowman 2012 signedacrylic on found metal and wood door270 by 127 by 7 cm.106 5/16 by 50 by 2 3/4 in.This work was executed in 2012. Footnotes:ProvenancePrivate Collection, New York (acquired directly from the artist) Shin Gallery, New York (acquired directly from the above)Richard Hambleton: Melding the City into the Shape of a Canvasby Ekin Erkan, Shin GalleryThe Canadian-born artist Richard Hambleton (June 23, 1952 – October 29, 2017), colloquially known as the 'Godfather of Street Art' amongst insiders, was a fixture in Manhattan during the early 1980s. Hambleton's retinue included Keith Haring and Jean-Michel Basquiat, all tragic figures in their own right, initially scrounging in poverty whilst following their passion amongst scrawled walls and cragged sidewalk that they bent in the shape of a canvas. Today, we all know the names Banksy, Kaws, and Shepard Fairey; if one is better informed, they may even know the stencil-based street artist, Blek Le Rat. But without Hambleton, none of these artists–all of whom pay homage to and exalt Hambleton in interviews and art practice–would have developed their own unique street art lexicon.Hambleton gained a cult following with his splattered, adumbrated images of outlined figures on buildings throughout the Lower East Side. Hambleton was truly one of the bohemian spirits threading through the downtown scene–frail, even ghastly, stumbling but never dropping the buckets of black paint he balanced in his fingers, alongside a handy paintbrush. The brush-and-bucket, not the aerosol can, were his tools par excellence. Hambleton's early public art from 1976 to 1978 included the Image Mass Murder, a predecessor to the Shadowman works. In the former, Hambleton would paint a police 'chalk' outline around bodies of volunteer 'homicide victims'. He would then drip flecks of bright crimson paint on the outline, the result being a realistic-looking crime scene. Some read these as critiques of police, others as a documentary process of the city's malefactions. Hambleton subsequently trekked through 15 major cities across the United States and Canada where he produced these outlines, showing an undoubtedly prolific discipline. Then came the Shadowman pieces, clandestinely executed with expressive flourishes of speedy brushwork. Highly stylized, life-size figures and animals, these were charted on derelict structures–again, first in downtown Manhattan and then internationally. Hambleton's Shadowman even adorned the Berlin Wall.Hambleton was a fixture on the East Village gallery scene, but following the mid-'80s, he disappeared for a time. Hambleton retreated to his studio on the corner of Grand St. and Orchard St. to develop a distinctive form of gestural abstraction inspired by nature and the nineteenth century American Luminists, teeming with mellificious pools of color. This marked something of a turn away from the urban environment and Street Art proper, as evinced by his late-career 'The Beautiful Paintings' 2007 solo exhibition. Unfortunately, during this period he was diagnosed with skin cancer and took to self-medicating.In 2012, Hong Gyu Shin opened Shin Gallery, across the street from Richard Hambleton's studio. During the early days of the gallery, which now spans three gallery rooms, Hambleton would visit the gallery regularly. He would usually arrive around 6:10 PM, 20 minutes prior to the gallery's closing. Shin had a makeshift bedroom downstairs, and the two would discuss art history and the downtown scene at length. Hambleton, ever-opinionated, introduced Shin to many of the bastions of Contemporary Art, unspooling tales of his time at Club 57 and how Hambleton and his good friend Basquiat would trade artworks with one another. Each evening, Hambleton would mount his meager children's bicycle and peddle over to the gallery, propping it against the gallery's glass door before spending hours into the evening exchanging such tales with Shin. One day, Hambleton, increasingly destitute and afflicted by addiction, was evicted from his studio. He had been unable to pay his rent. The artist was still sharp but had become something of a loner. Left with nowhere to work and no friends who would help him, Shin stepped in and offered to let Hambleton use the gallery as a makeshift studio after hours. Every evening, the gallery staff would dismount the artworks exhibited to clear a space for Hambleton to work and, each morning, reinstall the works. By the time Shin would go to bed downstairs, Hambleton would have just propped up a blank, pallid canvas. When he woke, the canvases showed dazzling images–Shin recalls, in particular, one particularly captivating painting of an energetic rodeo with a horse buoyantly jumping.Consigned by Hong Gyu Shin, Standing Shadowman is executed in acrylic on a steel door. It is an example of Hambleton's idiosyncratic Shadowman paintings. The tradition of using the door as a canvas is tried and true–e.g., Basquiat's 1985 painting Sam F, featuring a suit-jacketed man in a wheelchair, painted on an apartment door. This piece not only shows a Street artist at his peak maturity but also speaks to Hambleton's choice material–the urban surroundings which he cultivated into canvases.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

FRANK AUERBACH (B. 1931)J.Y.M. Seated V 1989 oil on canvas 50.8 by 40.6 cm. 20 by 16 in. This work was executed in 1989. Footnotes:ProvenanceMarlborough Fine Art Ltd., London (39475.6) Marlborough Fine Art Ltd., New York (NOL 31.388) Campbell-Thiebaud Gallery, San Francisco (FA-108) Acquired directly from the above by the previous owner in 1995Thence by descent to the present owner in 2003Exhibited Campbell-Thiebaud Gallery, San Francisco, Frank Auerbach Recent Work, 1995, n.p., illustrated in colourLiterature William Feaver, Frank Auerbach, New York 2009, p. 311, no. 638, illustrated in colourExecuted in 1989 J.Y.M. Seated V is a strikingly fresh and beautiful portrait of one of Frank Auerbach's most celebrated and recognised sitters. Rendered in a majestic and jewel-like palette of green, purple and red pigment, the intensity of the artist's response to sitter and subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. His subject, Juliet Yardley Mills, referred to by her friends simply as J.Y.M. or Jym, is from a small group of subjects alongside Estella (Stella), Olive West (E.O.W.), his wife Julia, son Jake, and art historian Catherine Lampert among only a handful of others. Of this intimate group, J.Y.M.'s likeness presides over a host of the artist's most iconic paintings. She first posed for him in 1956 when she was a professional model at Sidcup College of Art and continued to do so for over forty years until 1997. Auerbach completed over seventy portraits and studies of J.Y.M., and this present work was executed over twenty years into their friendship. 'She was brought into the world to be a model, she came and sat, and it was not quite like anything else. It wasn't like painting Stella or painting Julia because it was just that... She took poses that were natural to her, and then I sometimes suggested things and one would go on. It became like a central spine of what one was doing' (the artist in: Catherine Lampert, Frank Auerbach Speaking and Painting, London 2015, p. 184). In this present work, out of the forms and brushstrokes emerges a face, a presence. There is an intense substantiality both to the painting and more particularly to the head itself. Auerbach has scraped at the surface of the painting, in a process where he starts again and again, erasing one day's efforts and beginning with another's. Yet the ghost of the previous forms remains in spirit, making J.Y.M. Seated V an accumulation not only of paint, but of paintings. The contrast between the lush, glistening oil of the head and the softer but rich olive background accentuates this, while also revealing a key part of Auerbach's artistic process that is more recognisable in his portraits painted in the late 80s. The background passages of this work have been applied with a more fluid oil paint, drying relatively matte; the artist employs a sgraffito technique, possibly with the upper end of the brush, scraping wet paint to form features of the face, with other areas partly scraped back more broadly. These swathes of impasto and flurried mark-making result in his subject being brought more powerfully into the foreground, engaging the viewer more intently with her presence. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist.Auerbach's distortions in his portraits have been likened to Francis Bacon's figures, however perhaps unlike Bacon, a certain warmth emanates from an Auerbach portrait. As seen in J.Y.M. Seated V, his model is perhaps more understood than recognisable, arguably because Auerbach only paints those known closely to him. Still, although she may be somewhat incomprehensible, his prolonged engagement with her throughout the course of her sittings brings out its details, indeed the rapid and vivid strokes as seen here, the individuality of essence awaits, something that is more than a representation. J.Y.M. Seated V is the portrayal of an individual life, there is a contemplative personal eminence that captures the sincerity of Auerbach's long-standing relationship with Mills. Of this dialogue between artist and sitter, Mills has said: 'we had a wonderful relationship because I thought the world of him, and he was very fond of me. There was no sort of romance, but we were close. Real friends'. (Juliet Yardley Mills in Norman Rosenthal and Catherine Lampert (Eds.), Frank Auerbach: Paintings and Drawings 1954-2001, London 2001, p. 26).Frank Auerbach is widely recognised as one of the most inventive and influential painters of the post-World War II era. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, J.Y.M. Seated V carries a powerful and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly inimitable and compelling portraiture, and is excitingly fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR ○* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.○ The 'Seller' has been guaranteed a minimum price for the 'Lot', either by 'Bonhams' or a third party. This may take the form of an irrevocable bid by a third party, who may make a financial gain on a successful 'Sale' or a financial loss if unsuccessful.For further information on this lot please visit Bonhams.com

ALEX KATZ (B. 1927)Yvonne with Flowers 2001 signed and dated 01 on the overlapoil on linen91.6 by 167.9 cm.36 1/16 by 66 1/8 in.Footnotes:ProvenancePace Wildenstein, New York (#34446)Mira Godard Gallery, Toronto (7780)Acquired directly from the above by the present owner in 2014ExhibitedToronto, Mira Godard Gallery, Alex Katz - Paintings & Prints, 2012Executed in his signature style using pared back, bold lines and heightened, vibrant colours, Yvonne with Flowers from 2001 is a truly exceptional work of portraiture by Alex Katz, one of America's definitive painters of the 20th century. Growing up in the New York art world of the 1940s and 50s, when non-representational abstraction dominated the discourse, Katz resisted the dogma of the period and developed his own form of figuration. His direct visual vocabulary, inspired by artists such as Paul Klee, Édouard Manet and Henri Matisse, captured everyday moments from his own life and is instantly recognizable in it's cinematic and refined style. With a recent, highly acclaimed, major career retrospective at the Solomon R. Guggenheim Museum in New York, and with works included in many of the worlds most prestigious museum collections, Alex Katz's artistic vision has been a defiant voice across centuries and continents. He is one of the great American masters.Painted in 2001, and coming to auction for the very first time, Yvonne with Flowers is an elegant large-scale portrait. The sitter is Yvonne Force Villareal, Co-Founder of Art Production Fund, a non-profit organization dedicated to commissioning and producing ambitious public art projects, wife of the artist Leo Villareal and a leading figure in the Maine arts community. Close-cropped against a background of larger-than-life yellow pansies, bright pink carnations and a vivid turquoise blue sky, she gazes out at the viewer, her expression conveys a sense of intimacy and confidence whilst remaining cooly detached at the same time. Typical for the artists work, all extraneous details are stripped away, leaving only the most vital. Yvonne's expression is dispassionate, there is no context or psychological engagement leaving the viewer with an impression bordering on abstraction. In the present work, Katz defines his model's features in his distinctive wet-on-wet brushwork that forces him to finish each work in a single session. Developed from the Renaissance fresco technique of pinning paper to the canvas, and forcing dry pigment through pinholes to create an outline, Katz shapes a vivid human presence with the most minimal of means. The picture is a warm portrayal of Force Villareal, whom Katz has known since the early 1990s and who has since been one of his most painted models after his wife Ada. She features in over 20 paintings, cut-outs and prints of the artist, each depiction revealing a different facet of the sitter. The inclusion of flowers, another one of Katz's career long signature themes, gives the work a fresh springlike quality, similar to Flora in Sandro Botticelli's masterwork Primavera.Offsetting the daringly close crop of the face and flowers with a large canvas, Yvonne with Flowers is evocative of the billboards and cinema screens that influenced the artist in the 1960s. Like a movie still, projected onto a flat cinema screen, the work embodies a distinct Pop aesthetic despite the fact that Katz never saw himself as a Pop artist; if anything he was a precursor to it. Whilst at first, his works with their bold colours and strong close ups seemed to be related to the emerging Pop movement of the 1960s, Katz and his craft-based approach to painting stood apart from the preeminent artistic movements. 'Minimalism was excluding things, but my work was compression,' he told Calvin Tomkins, as for conceptual art, it was 'mostly philosophical ideas, and it comes from universities. A lot of artists don't master their craft until they're thirty-five, but you can be a first-class conceptual artist when you're eighteen' (the artist in: Calvin Tomkins, 'Alex Katz's Life in Art', newyorker.com, 27 August 2018). As for his connection to Pop Art, Katz always painted scenes from his life, friends and family members, not popular culture.Having been featured in nearly 500 group shows internationally and in over 200 solo exhibitions since 1951, Alex Katz has been honoured with numerous retrospectives around the globe. His work has been shown in some of the most prestigious museums in the world, such as the Whitney Museum of American Art, New York, the Tate, London, the Albertina Museum in Vienna and The Guggenheim in Bilbao. His recent career-spanning retrospective at the Solomon R. Guggenheim Museum in New York has been highly praised by critics and enhanced an already strong demand from collectors and institutions internationally. Yvonne with Flowers offers the opportunity to buy a stellar example of the artist's oeuvre, a wonderful addition to any art collection.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

ENGLISH SCHOOL. 20TH CENTURY A Snowdonia landscape, oil on board 12' x 18½'; together with a still life study, oil on canvas 12' x 18'

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.

19th century oil on panel, still life of fruit, 18x24cm

Bernaert de Bridt (Flemish, fl. 1688-1722), Still life of hung hare and other game, oil on canvas, signed 'B de Bridt', 85x68cmProvenance: Lot 267, Old Master Paintings Sale, Sotheby's, London, 9th July 1998

Peggy Rutherford (20th century), still life of California tree poppies, oil on canvas, monogrammed, 50x60cm

18th/19th century European School, still life of dead birds and fruit; and a companion, a pair, oil on canvas, each indistinctly signed 'Guillxxx' lower right, each 52.5x63.5cm (2)

Bernaert de Bridt (Flemish, fl. 1688-1722), Still life of hung duck and other game, oil on canvas, signed 'B de Brid fc', 85x68cmProvenance: Lot 267, Old Master Paintings Sale, Sotheby's, London, 9th July 1998

Anthony J Avery, 'Man of Ross Gallery', ten unframed oil on canvas, including still life, beach scene etc

 R.H.Austin. A framed watercolour still life depicting a vase of flowers on a table, signed bottom left. 

Still life signed W Collins in ornate gilt frame

Unknown - Abstract still life in tones of blue, green and yellow, photographic reproduction, signed indistinctly in pencil, numbered 26/250, framed, 51cm x 42cm, frame size 83.5cm 63cm, also three other assorted prints by different hands. (4)

A collection of Eastern ceramics to include; three blue and white Chinese tea bowls, two Chinese figural decorated bowls with character marks to base, with six Imari style Japanese plates, a pink rimmed five clawed dragon designed plate with character marks to base, a gilt plate with butterfly design, with a red floral bordered still life fruit and flower centred plate with character marks to base, and a further transfer printed and palm tree decorated plate. (15 items)Conditions: Staining, slight cracking, chipping and scratching to some.

William Rayworth - A framed ceramic still life of fruit in ornate gilt frame Dimensions: 27cm height x 29.5cm width.Condition: Slight loss to gilding. 

K Cotton (late 20th century school), Still Life With Fruit, oil on canvas, signed lower right. H.58 W.68cm.

STILL LIFE WITH MINCE PIES pastel on paper, signed mounted, framed and under glass image size 34cm x 44cm, overall size 71cm x 80cm

STILL LIFE coloured lithograph on paper, signed and numbered 6/75 framed and under glass image size 29cm x 46cm, overall size 41cm x 57cm

A Sevres Beau Bleu Porcelain Coffee Can and a Saucer (Gobelet 'Litron', 2eme Grandeur et sa Soucoupe, 3eme Grandeur)Circa 1785the cup with gilt interlaced Ls and incised 36D F, the still life painting attributed to Micaud, the gilding to Le Guay, the saucer with blue interlaced Ls enclosing date letter HH, painter's mark for Julien le jeune, unidentified PR and incised 117; the cup painted in colors with a still life of fruit and flowers in a basket on a marble ledge reserved within a gilt cisele band and with tiny gold foil stars applied to the cobalt blue ground, the substitute saucer with a central jewelled star within a sunburst, the border with gilt foil stars between gilt bands.Height of cup 2 3/4 inches; diameter of saucer 4 5/8 inches.This lot is located in Chicago.Provenance:Mary Poter Walsh, Oklahoma City;Christie", New York, Fine French and Continental & European Ceramics and [...], 16-18 November 1999, Lot 221 Rinceaux, Palm Beach, no. 1101, 30 May 2000 (with invoice) Note:The present gobelet 'Litron' is almost certainly a cup missing from a part cabaret retained in the British Royal Collection. In 1826, an inventory of the Confectionary at Carlton House noted 'no. 239: A Dejeuni of blue with gold stars, painted in fruit and flowers. Consisting of five Cups & Saucers, Teapot, Sugar Bason and Cover, Cream Ewer and Slop Bason.' Of these, only the sugar bowl and cover (pot a sucre 'Calabre' 1ere grandeur), one cup (gobelet 'Litron', 2eme grandeur) and two saucers (soucoupes, 2eme grandeur) remain in the Royal Collection. A comparison of the present cup with the illustrations in Sir Geoffrey" comprehensive catalogue leave little doubt that the still lifes of a basket of flowers on a marble table found on each piece are by the same hand. That the factory mark on the present cup also corresponds to the other pieces in this cabaret helps solidify the attribution of the lush still life painting on the present cup to Jacques-Francois Micaud pere (active 1757-1810 as a flower painter), the stars and gilding to Le Guay (active 1751-1797 as a gilder), and the piece itself as originally part of this service.See Sir Geoffrey de Bellaigue, French Porcelain: In the Collection of Her Majesty the Queen, London, Vol. III, cat. no. 251, pp. 895-898 for a detailed discussion of these pieces and of what is almost certainly the payment records for Micaud and Le Guay when they worked on this service, executed between May 1784 and April 1785.Julien le jeune (active 1784-1786), is recorded at Sevres as a painter specializing in flowers and as a gilder. His mark appears only on the slightly small replacement saucer with gilt decoration.In generally good condition, some foil stars starting to lift or lacking a point here and there.Condition reports are available upon request. All lots are sold "as is," in the condition they are in at the time of the auction. The physical condition of lots can vary due to age, normal wear and tear, previous damage, and restoration. Prospective buyers are strongly advised to inspect a lot personally or through a knowledgeable representative prior to bidding. The absence of any reference to the condition of a lot does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections, or the effects of aging. Prospective buyers must review and agree to the Conditions of Sale before participating in an auction, and it is the responsibility of the buyer to ensure that they have requested, received and considered any condition report.

* WILLIAM CROZIER ARSA (SCOTTISH 1893 - 1930) STILL LIFE, VASE OF ROSESoil on canvas, signedframed and under glassimage size 60cm x 50cm, overall size 68cm x 58cmNote: Born in Edinburgh, Crozier studied at Edinburgh College of Art, a friend and fellow student of Anne Redpath, William Gillies and William MacTaggart. Crozier lived in Paris in 1923, while on a Carnegie Travelling Scholarship, and studied with the cubist painter André Lhote. He also travelled to Italy, where he was captivated by the bright sunlight which cast deep shadows. Crozier later attempted to capture this intense light, as he was to adopt the lessons of Cubism, in his own work. After suffering ill health all his life due to haemophilia, Crozier died, aged just thirty-seven, following a fall in his studio. His ECA contemporary, Harold Harvey Wood, later recalled 'Scottish painting suffered a very severe loss in the premature death of Wiliam Crozier, who, quite apart from his considerable gifts as a painter, represented a kind of oasis in the illiterate and philistine deserts of the Scottish studios' (as quoted in Ann Simpson, William Crozier 1893-1930, Edinburgh 1995, p.8).

CAROL SYMON "Hen house No. 9" a study of chickens and hen house, oil on canvas, signed lower left 49 cm x 39 cm together with CAROL SYMON "Still life study of candles and flowers" oil on canvas, initialled lower left 45.5 cm x 60.5 cm

Mixed pictures to include a signed limited edition print of a woodland scene, indistinctly signed, a Pablo Picasso print, oil painting depicting a still life and others

A group of oil paintings to include an Italian style still life of a vase of flowers, M N Lay- still life vase of flowers on a table with two books, oil on board, signed lower left, a Dutch style winter landscape with farm buildings, a river with figures to the foreground and a distant church, framed, a 19th century oil of a farmer herding sheep towards a barn with hens to the foreground, a portrait of a greyhound in a landscape with a hare being chased by a hound and an impressionist landscape of farm buildings with two figures in a field, unsigned and a gilt picture frame(7). Condition: long term damp from storage, to a couple of pictures, holes and splits to another, Location:

λ MARTIN MOONEY (IRISH B. 1960)STILL LIFE WITH BLUE CLOTHOil on boardSigned with initials and dated 1997 (lower right); further signed, titled and dated 1997 (verso) 20 x 40cm (7¾ x 15½ in.)

λ  GILBERT SPENCER (BRITISH 1892-1979)STILL LIFE OF FLOWERS IN A VASE Oil on boardSigned (upper right)44 x 54cm (17¼ x 21¼ in.)

λ LILIAN HAWTHORN (NÉE LEAHY) (BRITISH 1909-1996)STILL LIFE WITH APPLES AND VASE Oil on canvas-boardSigned (lower right)30.5 x 40.5cm (12 x 15¾ in.)Painted circa 1970/80s.Provenance:Estate of the ArtistThence by descent to the present ownerPlease note measurements do not include the frame unless otherwise stated.

λ MARTIN MOONEY (IRISH B. 1960)STILL LIFE WITH MARROWOil on boardSigned with initials and dated 1999 (lower right) 50.5 x 100.5cm (19¾ x 39½ in.)

λ MARY FEDDEN (BRITISH 1915-2012)DON GIOVANNI BY MOZART, STILL LIFE WITH TRUMPET, SHEET MUSIC AND FLOWER IN A MUG Oil on canvas Signed and dated 1994 (lower left)40.5 x 30.5cm (15¾ x 12 in.)Provenance:Private Collection, Berkshire Thence by descent to the present owner Condition Report: Not relined. Appears to be in good original condition. Condition Report Disclaimer

λ ELIOT HODGKIN (BRITISH 1905-1987)STILL LIFE OF TWO VASES, A STUDY Pencil Signed (lower right)41.5 x 29.5cm (16¼ x 11½ in.)Condition Report: Unexamined out of glazed frame. Fading to the sheet throughout visible to the edges where an old mount used to be. Light surface dirt to the extreme edges and corners. Small crease to the upper right corner and another to the left of the lower edge. Condition Report Disclaimer

H. Brufton watercolour fruit still life dated nov191055x43cm in gilt frame

19thC after Rachel Rutsch (1664-1750) still life of fruit and flowers in 19thC velvet lined frame

An interesting Great War C.B.E. group of four awarded to Captain F. C. H. Allenby, Royal Navy, younger brother of Field Marshal Viscount Allenby, and personal friend of King George V from their time together in the Royal Navy. Often the source of ‘high-jinx’, he was affectionately known as ‘Moon Face’ to the King’s cousin Queen Marie of Romania, and was subject to a court martial for striking a Petty Officer The Most Excellent Order of the British Empire, C.B.E. (Military) Commander’s 1st type, neck badge, silver-gilt and enamel, in Garrard & Co. Ltd case of issue; Egypt and Sudan 1882-89, dated reverse, 1 clasp, Alexandria 11th July (F. C. H. Allenby. Midn. R.N. H.M.S. “Alexandra”.) light pitting from Star; British War Medal 1914-20 (Capt. F. C. H. Allenby. R.N.); Khedive’s Star, dated 1882, unnamed as issued, generally very fine or better unless otherwise already stated (4) £1,000-£1,400 --- C.B.E. London Gazette 1 July 1919: ‘For valuable services in connection with the Naval Transport Service at Liverpool and Southampton.’ Frederick Claude Hynman Allenby was born in Felixstowe in September 1864, and was the son of Hynman Allenby, and the younger brother of Field Marshal Viscount Allenby. He joined the Royal Navy as a Cadet in January 1878, and was at Britannia at the same time as a young Prince George, later King George V (there is a group photograph of young sub-lieutenants posing together, including Allenby and the King, at H.M.S. Vernon in May 1885, a copy of which is included in lot research). Allenby was appointed as a midshipman to H.M.S. Alexandra (flagship of the British Mediterranean Fleet) in June 1880, and served with her during the bombardment of Alexandria in 1882. A young Midshipman Dudley De Chair (later Admiral Sir Dudley De Chair, K.C.B., K.C.M.G., M.V.O.) was also serving with the Alexandra, and he mentions Allenby in his book The Sea is Strong: ‘All was excitement then, and none of us turned in; soon after daylight on the morning of July 11th the whole fleet weighed and cleared for action. Allenby, Hay and I went to the Captain and asked if we might take the position of the quartermasters on the upper bridge during the battle. I was told off to steer the ship (a great honour we considered), Hay was told off to get the range of the forts, and Allenby was told off to work the engine room telegraphs. All our men in the batteries were stripped to the waist, with white handkerchiefs tied round their heads, and the decks had been sanded to prevent slipping on blood.’ Allenby was mentioned in despatches for being engaged in reconnaissance at Malala Junction, Egypt, 5 August 1882. He advanced to sub-lieutenant, and was subsequently posted to H.M.S. Neptune. Allenby was still, however, very much a fixture in royal circles - Prince George was appointed to H.M.S. Alexandra which had now been made the flagship of the Prince Alfred, The Duke of Edinburgh. The latter’s daughter was Princess Marie, later Queen of Romania, and she gives the following in The Story of My Life, by Marie, Queen of Rumania: ‘We made innumerable friends, mostly among the naval officers; the fleet was, so to say, at our disposal, and we were continually visiting one ship or another, H.M.S. Alexandra, papa’s flagship, being our great favourite, her midshipmen becoming our particular chums. Amongst our group of very young naval friends there was a certain Lieutenant Allenby, a round faced youth, all smiles, good humour and recklessness. Though his years counted more than ours, he was not a day older than we as to tastes and habits, there was plenty of health in him, but little wisdom. When Allenby was one of the party it was sure to be a day of adventure, frolic and merry making, a day, also, of anxiety for elders. He was also allowed in small doses only, because our association was not “de tout repos”. We called Allenby Full Moon because of the excessive roundness of his cheerful countenance. Whenever he could cousin George joined our Saturday picnics, and he was fond of declaring that the ‘dear three’ [Marie and her sisters) were much better behaved and less unruly when he was leader of the wild horde. It was certainly Allenby, or Full Moon, who was the most irrepressible. The days when he was one of the party were days of high jinks.’ Allenby advanced to lieutenant in August 1887, and was granted permission to go abroad during October of the same year to The Crown Prince and Princess of Germany. He was serving with H.M.S. Scylla, when he was subject to a court martial for striking a petty officer. Allenby was severely reprimanded and dismissed his ship in August 1897. He advanced to commander in December 1900, and retired as captain in December 1909. Allenby re-engaged for service during the Great War, and was borne on H.M.S. President as training officer, Liverpool, 1 August 1914 - 23 May 1919 (C.B.E.). B. Gardner in his book Allenby gives Viscount Allenby as recalling a visit by the then King George V to his Corps in France: ‘He was very chatty and affable, asked me a lot about Claude, and told me tales of their adventures together as sub-lieutenants.’ When Field Marshal Allenby was elevated to the peerage as a viscount, Captain F. C. H. Allenby was named as the heir to the title (the Field Marshal’s son having been killed in the Great War. Captain Allenby died in August 1934, with his elder brother dying in 1936 - the title then passed to Captain Allenby’s son. Sold with photographic images of recipient, and copied research.

Pair: Trumpeter E. Newton, 20th Hussars, who was noted as sounding the ‘Charge’ at Gemaizah, and was killed in action during that battle, 20 December 1888 Egypt and Sudan 1882-89, undated reverse, 1 clasp, Gemaizah 1888 (1461. Trumptr. E. Newton. 20th Hussars.); Khedive’s Star, undated, unnamed as issued, generally good very fine, and a unique single clasp award to a Trumpeter in the regiment (2) £2,000-£2,400 --- Provenance: Medals to Trumpeters from the Collection of Roderick Cassidy, Dix Noonan Webb, December 2004. Edward Newton was a native of Edmonton, London, and was killed in action at Gemaizah, whilst serving as a Trumpeter with the 20th Hussars, 20 December 1888: ‘I am glad to find that at least one board of guardians can do justice to the memory of those who reflect credit on their teaching. The Strand Guardians have resolved to place a marble slab in the dining hall of their schools at Edmonton, bearing a suitable inscription in memory of Trumpeter Newton, of the 20th Hussars, who sounded the “charge” the other day at Suakin. Newton, who was twenty-six years of age, was educated at Edmonton, and joined the Army when only 15. He was one of the many boys whom that prince of trumpeters, Binnie, late of the 2nd Life Guards, fitted for the service of the Crown. All those who are interested in the education of youths for the military service should take an early opportunity of inspecting Mr Binnie’s class. It would be difficult to find a smarter set of lads anywhere in England.’ (The People, 6 January 1889 refers) During the cavalry charge at Gemaizah, three troopers and Trumpeter Newton were killed and mutilated, prompting not merely feelings of rage and vengeance but the reflections of Trooper E. L. Wedlake: ‘It was indeed a glorious charge, though marred with grief and pain. For Newton, Thomas, Jordan, Howes, were numbered with the slain. We bore them from the field of strife with tenderness and love. And trusted that their souls had found a resting place above. Then our thoughts returned to Cairo camp, with mottoes and its flowers. With saddened recollections of its gay and festive bowers. We wept for our gallant comrades, as still in death they lay. And in the camp of our beaten foes we spent our Christmas Day.’ The four men of the 20th Hussars were re-interred in the Khartoum Cemetery of the Commonwealth War Graves Commission. Sold with copied research.

Pair: Marine J. H. M. Williams, Royal Marines General Service 1962-2007, 1 clasp, Northern Ireland (Mne J H M Williams P038915X RM); South Atlantic 1982, with rosette (Mne 1 J H M Williams P038915X RM) the latter in named card box of issue, extremely fine (2) £800-£1,000 --- John Henry Morris Williams served with 2 Troop, K Company, 42 Commando, Royal Marines during the South Atlantic campaign. The recipient’s Personal Recollections of the campaign, including the Air Battle for San Carlos, the bombing of the Sir Galahad in Bluff Cove, and the Battle for Mount Harriet state: ‘Even though 40 years has now passed I have many vivid and rich memories from this episode of recent British history. I feel forever fortunate to have played a part, albeit small, in this gripping campaign with a wonderful group of men, both lucky and proud, to be called Royal Marines. My introduction to the rapidly unfolding Operation Corporate was dreamily surreal. I happened to be lying in the sun, on a beach in Paleocastritsa, Corfu, when a 4 day old copy of the Sun newspaper seemed to land in front of me. The headlines jumped out and hit me for six: “Royal Marines head a Task Force to recapture the Falklands from Argentinian invasion...” Suddenly my self-indulgent speculation of Mediterranean excess by both day and night was replaced with the excruciating fear that I was might miss out on this adventurous but arduous challenge, one whole hemisphere away. I ran to the Hotel, and called the 42 Commando Guard room in Bickleigh for instruction. I was deflated to be told “Carry on enjoying your vacation, they have already Sailed! But be back for Parade 08:00, Monday 12 April!” I obviously did my best to enjoy my last few days in the Ionian sun after 12 weeks in Norway, but the thought of missing out, was like an agonising tooth ache needing a serious remedy! On Monday morning, I was amongst a group of disgruntled stragglers that formed on the Parade ground of Bickleigh Barracks to await instruction. I felt nervous, and compelled to find a way to head South and rejoin K Company and my Commando unit, but sensing I had to make the right choice, if I was to find a way not to be guarding the Tors of Dartmoor for the Summer! It was promptly announced that volunteers were required; I almost stepped forward but a peculiar instinct held me back. It was just as well as these volunteers were detached to Northern Island! Then a second group of volunteers was required; for this I did step forward, and quickly informed I was to train as air defence for the Landing Ship Logistics [LSL’s] already on the way to the Falklands. What a relief I felt, as I was now heading in the right direction. Soon we were off to Salisbury plain to practice firing at model aircraft with the General Purpose Machine Gun. Then in a whirling blur we were on a plane flying via Senegal, to the Ascension Island to meet the arriving fleet. On arrival at Ascension, I was rapidly assigned with 8 others under the command of Sergeant D’Olivera to be part of the the Air Defence Team for the LSL, Sir Galahad. Soon I was making myself comfortable in my cosy berth on the Port side, adjacent to the tank deck. One of my self compelled tasks was complete, as I was in amongst this exciting gathering of men and might, on an undertaking, that seemed to have seized the collective unconscious of all involved. Some fellow Marines were still imagining that the cruise South would likely conclude as a wild “Run Ashore” in, may be, Rio De Janeiro after diplomatic negotiations removed the need for an armed conflict; so of course duly concentrated on improving their sun tans and samba dancing “Bootneck” style. Yet, for no sure reason, my subconscious was certain that a serious encounter lay ahead, and I felt the overwhelming need to be involved in this, with my Company- K Company! I soon found a way to get on a Launch to visit the Canberra. My vague plan was to persuade Captain Peter Babbington, to allow me to replace a less eager Marine, who could take over my GPMG Duties. With my friend Corporal Kevin Dale as an intermediary, I believe the suggestion was forwarded, yet the verdict retuned, that it was not possible at this moment. However, I was gently appeased by the fact I would automatically rejoin the company after the ammunition and other logistical supplies were unloaded from the Sir Galahad, and replace the early casualties. As I got on the launch to return to the very unstable, flat bottomed LSL, for the journey South, all my K Company friends crowded the rail to sing “Piss off Bungy”, while “dance-miming”, a wildly rocking boat pitching erratically, compared to a calm beer filled cruise for the lads of K Coy! It was a sparkling performance that certainly made me smile while reinforcing my desire to soon be back surrounded by their mighty humour! Anyway for now I would have to concentrate on the new world of being a GPMG gunner in a team with Jimmy Mann on a rolling bath tub of a vessel, as the “The Great White Whale” and its escorting destroyers and frigates cut effortlessly through the large South Atlantic swells. However, there was a sight one day after leaving Ascension that I should not forgot. The sun was high to the North and every last vessel of the task force was bridged with a rainbow formed from its own spray, almost like a halo, and I chose to take it as a sign of united good luck. We did watches at night- mostly to keep us busy I think- but in the day we practiced mounting our GMPG”s on their new steel poles on which they could rapidly swing and pivot through the imaginary flight paths of attacking aircraft. The Royal Marines Medical Squadron were all on board and were having daily lectures to get the up to speed for for battlefield trauma, so I would attend whenever I could! This turned out to be very important as some of the techniques I learned proved very useful later, as did my friendship with the Marines of Medical Squadron who would later assist me on my quest, when arriving at the “Red and Green Life Machine” of Ajax Bay. I cannot remember the transition from preparation, to the sure acceptance that we were truly about to commence the landing, yet there seemed to be a powerful calm that descended over everyone and in the early morning of 21 May we sailed into San Carlos Water. It was a clear night slowly that slowly became morning as we manned our guns and watched the glistening water and dark looming slopes gradually fill with the colours of dawn. Landing Craft were already inserting troops onto the nearby beaches and we waited curious, tense, and nervous waiting for the explosions of gunfire and artillery to commence. As daylight flooded San Carlos Water it was a stirring sight to see the task force anchored closely together providing mutual protection. I watched the ant like activities of soldiers on the land digging their defensive positions, while others situated the Rapier missile systems on the lower to mid slopes. Soon all of the Medical squadron were disembarked and setting up the Field Hospital in the disused slaughter house of. Ajax Bay, directly across from our anchorage. It remained eerily silent. The Sir Galahad had a Gazelle helicopter it was transporting and supporting. The pilot came for a walk around the port poop deck, where my gun was situated, to appraise the topography and get a feel for the day and the task ahead. Lieutenant Ken Francis had been my Company Second in Command in South Armagh with 41 Commando, 2 years before, and we had a quick, upbeat, yet serious, conversation about the day that possibly lay ahead. I wished him well on his upcoming mission to support the landing. Time is always a mystery...

The important and scarce ‘North Nigeria’ campaign group of four awarded to Colonel W. H. O’Neill, Royal Artillery and West Africa Frontier Force, who commanded the operations against the forces of Bida and Kontagora, July - December 1900, culminating in leading a brave but reckless attack which ‘advanced right up to the walls of Bida, entered the town with a few men and fought the Emir Adudekeri in a hand to hand fight. O’Neill was badly wounded and only escaped through the timely arrival of his men.’ The rescue was carried out by Lieutenant H. A. ‘Bertie’ Porter, 19th Hussars, ‘a thruster who has been noted in the Gazette for a brevet on obtaining his troop for a mad show at Bida when his C.O. got the sack for singeing the Emir’s whiskers. He nearly got hacked to pieces, but Porter got him out. Porter should have got a V.C. and he might have, had not the whole thing been contrary to orders. But it put an end to the insolence on the part of the Emir.’ Egypt and Sudan 1882-89, dated reverse, 1 clasp, Tel-El-Kebir (Lieut: W. H. O’Neill. F/1. B.. R.A.); Africa General Service 1902-56, 1 clasp, N. Nigeria (Major W. H. O’Neill, R.F.A.); Queen’s South Africa 1899-1902, 3 clasps, Cape Colony, Orange Free State, Transvaal (Lieut: Col: W. H. O’Neill, 62/Bty., R.F.A.); Khedive’s Star, dated 1882, unnamed as issued, light contact marks overall, generally very fine (4) £1,800-£2,200 --- William Heremon O’Neill was ‘born in Auckland and was the fourth son of the late Hon. James O’Neill, who was a member of the old Auckland Provincial Council, and later sat in the first Parliament of New Zealand as a member for Auckland City in 1854-55, and member for the northern division of Auckland from 1861 to 1868.’ (New Zealand Herald, 9 June 1925 refers) O’Neill was commissioned into the Royal Artillery, and a letter he wrote to a relation in Lincoln was published in the Lincolnshire Chronicle, 22 September 1882, and gives the following: ‘Ismailia, Sept. 8, 1882 - We start for Kassassin tomorrow, and expect to attack Tel-El-Kebir on Tuesday or Wednesday. After Tel-El-Kebir is taken we go on to Cairo in all probability. I hope Arabi won’t sack Cairo before we arrive. This climate is not half bad, although they tell me it is a good deal worse at the front; however, it agrees with me very well, and I am not likely to knock under. The ammunition, too, is always put in a safe place, so it is a sort of picnic with me. I regret to say that our horses are dying by the dozen. Ismailia is filled with representatives of every nation under the sun. The natives are coming back by degrees; they all bolted when we took the place. I have lots to do, as one of my two junior subalterns is seedy.’ O’Neill was promoted captain in 1885, and advanced to major in October 1893. He was seconded for service with the West African Field Force in September 1899. O’Neill was placed in command of a force for operations against the forces of Bida and Kontagora (North Nigeria), July - December 1900: ‘In July, Lugard [Sir Frederick, High Commissioner] received information that the Sarkin Sudan Emir of Kontagora, and the Etsu Nupe, Emir of Bida, were planning to massacre the small garrison that he had left at Wushishi, the site of his projected new capital of the Northern Nigeria Protectorate. The bulk of the West African Frontier Force was away on active service in Ashanti, but Lugard in person at once hurried up to Wushishi from Jebba, bringing reinforcements under Major O’Neill, Royal Artillery. The situation was indeed serious. The village heads of Wushishi had been assassinated and the West African Frontier Force soldiers were being attacked virtually on the threshold of their camp. Ngwamachi, the notorious Emir of Kontagora, and the Emir of Bida, had sent messengers to Ilorin, urging the Emir to join in a rising and expel the white man whose troops, it was rumoured, had been exterminated in Ashanti. O’Neill, with Lieutenant [H. A. ‘Bertie’] Porter [whose medals were offered for sale in these rooms as part of the A. A. Upfill-Brown Collection in December 1991] as his second-in-command, patrolled the countryside for some 20 miles round Wushishi, keeping the Nupe and Kontagora cavalry at their distance by a series of masterly skirmishes. A number of small military forts, such as those at Wushishi, Wuya and Maraba, were erected as soon as the rains ceased. In November O’Neill’s force defeated a band of Kontagora levies at Dabb in Egbake district, north of Kutigi, and, crossing the Kaduna, they routed the Bida horsemen. With immense gallantry O’Neill entered Bida town, accompanied by a mere handful of troopers, on December 19th, and endeavoured to kidnap the Emir. Badly wounded, O’Neill escaped only by the greatest of luck.’ (The Second Battle of Bida article by A. H. M. Kirke-Greene refers) Lugard’s despatch for the operations, praises both the gallantry of O’Neill and Porter but stresses that the former had exceeded his orders and was fortunate to escape with his life: ‘On the 19th December Sergeant H. Edwards defeated with heavy loss a force estimated at 100 horse and 700 foot. On the 15th and 16th Major W. H. O’Neill, Royal Artillery, and Lieutenant H. A. Porter, 19th Hussars attacked and defeated the Bida raiders, who are said to have lost 50 killed at least. On the night of the 17th he marched on the hostile forces again and surprised them at dawn. He estimated the enemy at 500 horse and 1,000 foot, and states that they suffered at least 200 casualties. His own force consisted of himself, Lieutenant Porter, Sergeant Edwards, eight mounted and fifty dismounted men. Again on December 18th he advanced towards Bida with Lieutenant Porter and 13 mounted and 25 dismounted men, driving parties of enemy before him. These he pursued up to the walls of Bida and actually entered the town with his handful of men and endeavoured to seize the Emir with his own hand. In a desperate hand to hand encounter he was badly wounded, but the opportune arrival of some of his men [under Porter, for which he was promoted.] enabled him to put the Fulanis to flight and to effect a retirement, during which his party was much harassed. The other casualties, besides Major O’Neill himself, being one man severely and two slightly wounded. Major O’Neill had received distinct and positive orders not to approach too close to Bida, still less to enter it, and I consider that a grave disaster was only averted partly by good fortune and partly by the resource and ability shown by Lieutenant Porter.... There is no doubt that this most adventurous exploit created an immense impression on the people of Bida.’ In 1902 O’Neill was appointed to the ‘command of the 18th Imperial Yeomanry at Ficksburg, Orange River Colony, at present with Col. Ternan’s column. The men do not belong to any particular county, but are picked men and called “Sharp Shooters.” (Lincolnshire Chronicle, 7 March 1902 refers). He subsequently retired, and died as a result of an accident whilst staying at the Mansion House, Kawau Island, in June 1925: ‘When war broke out in 1914 he went Home and offered his services to the Imperial Army, being accepted for home service. In recent years he has resided at Tauranga and Devenport.’ (Obituary refers) Colonel O’Neill is buried in O’Neill’s Point Cemetery, Auckland. Sold with copied research.

Still life, oil on board, and a winter scene oil on canvas (2)

20TH CENTURY SCHOOL STILL LIFE IN PURPLE Oil on board, signed lower left, 39 x 49cm Condition Report:Available upon request

TWO QAJAR LACQUERED LEATHER PAPIER MACHE BOOK COVERS PERSIA, 19TH CENTURY with central reserves of lovers on white grounds adorned with peacocks and flowers within script borders, the opposing sides with panels of script on red and gilt grounds; one comprising front cover only, framed; the other comprising front and back cover, unframedDimensions:46cm x 31cm eachProvenance:Provenance: Kimmerghame, Duns, the Estate of the Late Major General Sir John Swinton K.C.V.O., O.B.E., D.L. (1925-2018)Major General Sir John Swinton began his military career in 1944 with the Scots Guards, rising in rank to Major General in 1976. He was also Brigadier of the Queen’s Body Guard for Scotland (Royal Company of Archers) in 1977, and retired from Army life in 1979. With his strong military background, he was appointed Deputy Lieutenant for Berwickshire in 1980 and Lord Lieutenant from 1989 to 2000. A high point of his tenure was escorting the Stone of Scone back to Scotland in 1996.The Swinton family history and ownership of land in Berwickshire can be traced to the early part of the 12th century, when Ernulf de Swinton received one of the first private charters recorded in Scotland which confirmed his property from David I of Scotland (1084-1153). This is one of two original charters of David I kept in the cartulary of Durham; both are to Ernulf and also refer to Ernulf’s father (Udard), grandfather (Liulf) and great-grandfather (Eadulf) as holding the land before him. This would make Eadulf the first landowner of Scotland whose ownership could be proved, and means that the Swinton family would by this hypothesis be one of only three (the two others being the Arden and Berkeley families) that could trace its unbroken land ownership and lineage to before the Norman Conquest, making it one of the oldest landed families in Britain.Kimmerghame itself was the site of an earlier house, the home of Sir Andrew Home in the 1730s. The lands and estate of Kimmerghame came into the ownership of the family of Swinton in 1776 when Archibald Swinton of Manderston married Henrietta Campbell of Blythswood in Glasgow. This older house was demolished and rebuilt in the early 1850s, the architect being the celebrated David Bryce, who employed some materials from the older house. Bryce’s Scots Baronial house was substantially damaged by fire in 1938 and only partially rebuilt. The family still retains Kimmerghame and its contents.Captain Archibald Swinton (1731-1804) went to India in the service of the East India Company as a surgeon. He reached Madras in 1752 and took part in the campaigns being waged between the French and English Companies for supremacy in the south. He also took part in an expedition 1756-57 to Negrais in Burma. He reached eastern India for the first time in 1759 when he arrived at Ganjam in Orissa and from there went on to Calcutta. He also transferred from being a surgeon to an ensignship in the Company’s Bengal army.When Archibald Swinton left the Company’s service at the end of 1765, he took with him a letter from the Emperor to King George III asking for help to reseat him on the throne of his ancestors, since Clive would not do so unilaterally; Swinton took a munshi with him in case the answer should be written in Persian. So ‘Captain Swinton, bringing with him the Munshy (sic) (and including in his baggage the large Indian jars, the Indian pictures, Chinese pictures painted on glass, numberless ivory, silver and crystal handled arms, jewels, Persian books, etc. etc.), sailed from India …’ The important group of Indian paintings and other works of art are now in the care of the National Museum of Scotland having been accepted by the nation in lieu of inheritance tax.The Swinton family have had strong connections with the Army and the legal profession. Part of their impressive collection was sold at our saleroom in Five Centuries: Furniture, Paintings and Works of Art sale on 23 Feb 2022, and subsequently Fine Asian & Islamic Works of Art on 13 May 2022, lot 150-159

A FLORAL STILL LIFE OIL ON CANVAS IN ORNATE FRAME SIGNED BY THE ARTIST

Terry McKinney:  Rose in a Jar 32 x 32cm,  framed and glazed; Przepiora: figures on a beach, 35x 41cm; Pat Cook: Silver Jubilee celebration artist signed monochrome print, 25 x 40cm framed and glazed; Terry McKinney: 5 artist signed coloured etchings, framed and glazed; Robert Cox: still life of roses, oil on canvas, signed, 50 x 40cm