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G. J. Broome, 19th Century, oil on canvas, still life of fruit, signed. H.46 W.56cm.

Moyra Barry (1885-1960)Still Life with RosesOil on canvas, 40 x 50cm (15¾ x 19¾")Signed

Jack Butler Yeats RHA (1871-1957)The Ring Master and the Clown (1909)Watercolour, 25 x 35cm (10 x 13¾")SignedProvenance: Peter Katz; sold to Victor Waddington, London 1967; With Victor Waddington Galleries, London, label verso Allen Figgis (owner); Waddington Galleries Montreal label verso; Sale, these rooms, 14 July, 1983; Private Collection, DublinExhibited: Dublin 1909, Aonach, Exhibition of Paintings, Cat. No.21Literature: Yeats, Jack B., Life in the West of Ireland (1912, 1915) 75; Yeats, Jack B., And to You Also (1944, 1974) 120; Pyle, Hilary, Jack B. Yeats His Watercolours, Drawings and Pastels, Cat. No.681, p.161 illusBy the time The Ringmaster and the Clown was first exhibited in 1909, Jack Yeats had already achieved a significant degree of fame and appreciation. Hugh Lane, a few years earlier, in his quest to establish a gallery of modern art in Dublin had approached artists and friends in an effort to persuade them to present works to form a nucleus of a collection. Jack Yeats, while still living in Devon presented three watercolours, The Rogue, The Melodeon Player and The Day of the Sports. By January 1908, The Dublin Municipal Gallery of Modern Art had opened at 17 Harcourt Street. According to Hilary Pyle, Jack Yeats had given what he considered his most up-to-date important work – character studies of contemporary Irishmen of the West.Pyle continues … ‘From about 1906, when Yeats was painting a little more in oil, a new spirit is noticeable in his watercolours. The images and manner are much the same as before, but they are treated more seriously, often isolated pictorially in space; and the themes generate a greater breadth of purpose. Synge’s friendship has made the artist see his Western Irish imagery in a wider context, so that landscapes and figures plumb more deeply from the particular to the universal’.Yeats writing in And to You Also in 1944, described ‘the parasol of the auditorium’ of the circus tent. ‘The sad-faced clown stumbles along on the ring-master’s left, while up above the ring-master on his right, sits the beautiful girl … on the back of a grand old cream horse … ’.  The circus life theme stayed with Yeats throughout his career, the images from his childhood life in Sligo indelibly etched on his pictorial memory, notably in The Haute École Act and That Grand Conversation was under the Rose, the oils of 1925 and 1943. In the present work the clown is, as Hilary Pyle describes ‘…. in merry mood, looking coyly at the spectator’.

William Scott RA (1913 - 1989)Still Life Forms (1969)Gouache, 29.5 x 42cm (11½ x 16½")Signed and dated (19)’69This work is registered in the William Scott Archive as number 2361Provenance: Collection of R.W. Wilson, DublinExhibited: Queen's Art Gallery, Belfast, Selling Exhibition in Aid of Innocent Victims Fund, 1 - 8 November 1969, where purchased by R.W. WilsonWilliam Scott is widely regarded as one of the most innovative artists of the twentieth century, noted in particular for his unique combination of still life and abstraction. Scott was born in Greenock, in Scotland, and subsequently moved with his family to his father’s native Enniskillen at the age of eleven, where his education as an artist began. He continued his studies at the Belfast College of Art, followed by the Royal Academy Schools.in London.  He travelled in Europe, returning to the UK at the onset of World War II, and taught for a time at the Bath Academy of Art. By the late 1950s, his reputation was established when he was one of three artists chosen to represent Britain at the Venice Biennale in 1958.While at the outset, the content of William Scott’s work was easily identifiable, his tendency to stylisation rather than illusionistic realism was soon evident. Over the years, Scott explored a number of thematic genres in his artwork. However, his interest in still life themes predominated and provided subject matter throughout his life as an artist. His interpretation focused on the humble, domestic objects of a working-class environment, and he explained that the objects he painted were the symbols of the life he knew best. Still life provided a substantial range of methods for William Scott, and his work evolved through an array of distinct phases. For example, during the late 1950s, his ‘table top’ images were crowded with forms and texture, and his relatively monochromatic leanings were shot through with elements of vibrant, contrasting colour. This gave way to a more spacious and airy aesthetic bordering on abstraction that was fully realised, in the mid 1960s, with his celebrated Berlin Blues series. He continued to venture between the two genres of still life and abstraction, each informing the other. Scott often worked with an almost monochromatic selection of colour as Still Life Forms (1969) demonstrates, using tonal variations for definition. The stark contrasts of white and black objects are foregrounded by the grey surround, and the paler greys of two further containers add visual interest as they denote depth in the composition. A further bowl-shaped object, on the lower right, appears ‘cut off’ as though continuing beyond the picture surface. Thus the artist finds a way to play with volumes and space, with tones and profiles, thereby translating a series of ordinary domestic objects into a dynamic abstraction that emphasises rather than diminishes their symbolic relevance in his life. Remarkably, with such a humble and selective range of objects, Scott found multiple arrangements and colours to explore, on the brink of abstraction. The airiness of the image, and the clean, confident outlines, here drawn in what presents as thick, dark pencil, might suggest at first glance an adhesion to the ‘machine aesthetic’ pioneered by some Modernists to suggest the democratisation of the image with the elimination of the distinctive hand of the artist. However, observation of the work of William Scott identifies its more typical hand-crafted nature; the apparently flat surfaces exhibit the textures of his brushwork, and the objects retain a deliberately blurred edge as paint is allowed to respond to the condition of the surface. Pentimenti – the ghostly lines of obscured earlier marks, almost erased or painted over – indicate how the artist’s changes of mind reflect the evolution towards a greater balance, and where that process is allowed by the artist to be just discernible. Scott enriched his own explorations with an awareness of the achievements of artists whose work he witnessed in galleries and exhibitions, including Piero della Francesca, Chardin, Cézanne, and Matisse. He observed: ‘My interest in still life painting grew directly out of looking at Cézanne. I wanted to look at Cézanne not through cubist eyes, but rather through the eyes of Chardin.’ He went on to explain that: ‘There were few works to be seen, but the great French exhibition at the Royal Academy in 1932 while I was a student jolted me towards new art.’ (1)Contemporaneous artists also provided important impetus in his explorations. Scott went to the United States in 1953, invited by gallerist Martha Jackson as he prepared his exhibitions there, and he came into contact with Yves Klein, Willem de Kooning, Jackson Pollock, as well as Mark Rothko who subsequently visited him in Somerset. Scott explained: ‘My experience in America gave me a determination to re-paint much of what I had left unfinished in terms of symbolic still life.’ (2)William Scott addressed familiar domestic utensils, distilling them from their everyday, three-dimensional, practicality, to the cool and airy abstraction of his work. The inherent contradictions in his practice, and the visual tensions evoked, give the work a unique dynamism so that even the most deceptively simple arrangement remains compelling and intriguing.Dr. Yvonne Scott, January 20231 William Scott, ‘Biographical Notes’, in Alan Bowness (ed.), William Scott: Paintings Drawings and Gouaches 1938–71, exhibition catalogue,    The Tate Gallery, London, 1972, p.66.2 William Scott, British Council Lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,     Vol. 2, 1952–1959, Thames & Hudson in association with William Scott Foundation, London, 2013, p.18.Condition Report: Very good overall conditionIt appears that the paper has been stuck down onto the backing board and needs to be re-backed The painting was seemingly purchased  at a fund raiser in Belfast during the early days of the Troubles. Presumably it was donated by the artist

William Scott RA (1913 - 1989)Still Life No.2 (1970)Gouache on paper, 59 x 78cm (23¼ x 30¾")Signed and dated 1970Provenance: Collection of R.W. Wilson, DublinStill Life No.2 (1970) is representative of the approach to such themes painted by William Scott at this time.  Over the years, Scott had explored a range of thematic subjects, from the early biblical narratives and genre scenes, to the landscapes and nudes that featured repeatedly throughout his oeuvre. However, Scott consistently reverted to still life as the primary theme of interest across his life as an artist. William Scott’s earliest still life images are relatively naturalistic, though always stylised rather than strictly mimetic. Following a series of phases of exploration, the forms in Scott’s paintings became increasingly distilled, typically based on the familiar domestic objects typical of his childhood in Greenock, Scotland, where he was born. He later moved with his family to his father’s native Enniskillen, and remained in Northern Ireland where he began his education as an artist. He continued his education at the Royal Academy Schools in London, eventually settling in Somerset. Scott was ground-breaking in creating art that combined the familiar and mundane useful object with his perspective on Modernism abstracted form.Still life has attracted artists for centuries, providing an opportunity to represent a host of significant objects. The earliest examples in western art present still life elements in religious altarpieces, particularly in Northern Europe, prioritising the potential of objects, some ordinary, others precious, to carry symbolic meaning: thus this genre provided a readable array of distinctive ‘attributes’, by which the character of religious characters could be defined - a vital visual language in an era of low literacy. Over time, still life emerged as a subject in its own right, though it continued to embody a host of readable symbols for purposes of morality, intended as reminders of the perceived wisdom at the time.  In time, still life became a celebration of the ordinary, as artists began to focus on mundane objects for their own sake, to signify the familiar and to evoke nostalgia. From the late nineteenth century, towards the emergence of Modernism, the possibilities of forms of expression that challenged academic principles, provided an impetus for alternative methods of seeing: from the colours and shapes of the objects themselves, to how they could be located in space.William Scott had the opportunity to observe methods of expression through the work of artists encountered in exhibitions and art galleries, ranging from the Renaissance to the present, from Piero della Francesca to Henri Matisse, via Jean Siméon Chardin and Paul Cézanne. His visits to the United States from 1953, for his own exhibitions there, provided unique opportunities to observe the most contemporary developments and to meet some of the leading exponents as an equal – artists like Jackson Pollock, Barnett Newman – and Mark Rothko, who visited him in Somerset some years later. Still Life No.2 (1970) demonstrates characteristics that can be observed in iconic works by William Scott, such as Still Life Brown with Black Note (1969)(1). Still Life No.2 comprises colours and forms typified by the artist at the time: a flat black profile appears suspended, suggestive of the profile of a skillet, familiar in Scott’s work. A white circular object to the left is cut off by the edge of the painting, while on the right a white jug, another form that appears in Scott’s work, is presented like a stencil against the red-brown ground. The background shows the marks of the brush, and there is a suggestion of shadows thrown by some of the objects. The slight ‘bleeding’ of paint at the edges of objects, softens their otherwise austere profiles, and indicates the hand-crafted dimension of the artwork, and introduces a human dimension to the austerity of the arrangement. The composition is spare and spacious, a marked distinction from Scott’s still life paintings of the 1950s, which featured crowded, almost chaotic, ‘table top’ images connecting the artist and viewer more closely with the domestic realities of a busy kitchen environment. The present painting reflects the more abstract and symbolic nature associated with the later works of the painter. Once he divested his repertoire of the food items (fish, eggs, vegetables) evident in his earliest work, Scott’s particular selection of items reflects his stated preference for man-made over ‘natural’ things, perhaps identifying with durability despite repeated use, over organic fragility.William Scott is recorded as commenting on his practice in a lecture delivered at the British Council in 1961 that sheds light on his approach to still life:“My pictures now contained not only recognisable imagery but textures and a freedom to distort. I again painted a profusion of objects that spread themselves across the canvas, often clinging to the edges leaving the centre open …’.(2)Dr. Yvonne Scott, January 20231 William Scott, Still Life Brown with Black Note (1969), oil on canvas, 121.9 x 183 cm, Irish Museum of Modern Art, Dublin. See Norbert Lynton, William Scott, Thames & Hudson Ltd., London, 2004, p.313.2 William Scott, British Council lecture, quoted in Sarah Whitfield and Lucy Inglis (eds.), William Scott, Catalogue Raisonné of Oil Paintings,       Vol.2, 1952–1959, Thames & Hudson,in association with the William Scott Foundation, London, 1913, p.18.Condition Report: Very good overall conditionWe have no additional documentation, the painting was consigned from a deceased estate The edges or the hand made paper are a little scuffed in places, see images

Property of a Gentleman of the West Country Circle of Francisco de Zurbaran (1598 - 1664) Still life with lemons on a plate, a basket of fruit, and flowers in a vase Oil on canvas Dimensions: (Canvas) 25 in. (H) x 33 in. (W) (Frame) 31.5 in. (H) x 40 in. (W)

Property of the late Marcello Violante Natalia Sergeevna Goncharova (1881 - 1962) A still life study for a set design Watercolour and pencil on paper Studio stamp Dimensions: (Paper) 14 in. (H) x 20 in. (W) (Frame) 24 in. (H) x 30 in. (W) Natalia Sergeevna Goncharova (Russian: 3 July 1881 – 17 October 1962) was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. Goncharova's lifelong partner was fellow Russian avant-garde artist Mikhail Larionov. She was a founding member of both the Jack of Diamonds (1909–1911), Moscow's first radical independent exhibiting group, the more radical Donkey's Tail (1912–1913), and with Larionov invented Rayonism (1912–1914). She was also a member of the German-based art movement Der Blaue Reiter. Born in Russia, she moved to Paris in 1921 and lived there until her death.

Property of a Gentleman of the West Country Follower of Rachel Ruysch (1664 - 1750) A pair of still life paintings of flowers in baskets Oil on canvas in gilded period frames Dimensions: (Canvas) 18 in. (H) x 22 in. (W) (Frame) 22.5 in. (H) x 26 in. (W)

Peter F. Fuller (late 20th century) Britishdepicting a floral still life with roses and pansies in a glass vase, signed lower left, oil on board, 49.5 cm x 39 cm, within a pierced giltwood frame

Peter F. Fuller (late 20th century) Britishdepicting a floral still life with roses, carnations, and other flowers in a bronze vase, signed lower left, oil on canvas, 49.5 cm x 39 cm, within a pierced giltwood frame

Peter F. Fuller (late 20th century) Britishdepicting a still life with Renaissance style ewers, grapes in bowls, and a bird, the background with Roman vestiges, signed lower right, oil on canvas, 75 cm x 62 cm, within a giltwood frame

Mary Remington (1910-2004) British, A.R.C.A, 'Still life in the Kitchen', signed lower right, oil on board, 39.5 cm x 49.5 cm, within a painted wooden frame,

* McDougall (Jillian, 1940- ). Brambles, pen & ink, watercolour and some gouache on paper, monogrammed lower right, a bramble branch with fruit and flowers, on a red-orange ground, sheet size 43 x 99 cm, framed and glazed (45.5 x 101.5 cm), together with: Sherlock (Siriol, 1954- ), Cornus kousa var. chinensis, watercolour on paper, signed lower left, mount aperture 42.5 x 32 cm, framed and glazed (59.5 x 48 cm), verso with artist's card, 1st Floor Gallery, Romsey label, and exhibition label, plus: Fletcher (Adelene, 20th century), Thistledown, 1994, watercolour on paper, signed lower left, mount aperture 44 x 51 cm, framed and glazed (64 x 70 cm), versos with title label, with three others: Nasturtium study, by Christine Woodman (20th century), watercolour on paper, signed; Gourds still life, by an unknown artist, watercolour and pencil on paper, both mounted, framed and glazed (78 x 63 cm and smaller); and an unframed watercolour by Siriol Sherlock: Magnolia, signed lower left, sheet size 65.5 x 52 cmQTY: (5)

A decorative still life, 54 x 38cm

Two mid-20th century painted porcelain panels, both depicting still life flowers painted on opaque porcelain panels, one in a Dutch manner, in matching frames, signed by John Michael, one portrait, 21 x 14cm, the other 14 x 21cm (2).

MARY ENSOR; oil on board, still life fruit with walnut and holly, 14 x 23cm, ornate gilt framed and glazed.

EDWARD HASELL MCCOSH (SCOTTISH b.1949) STILL LIFE WITH CHICKENS Oil on canvas, signed lower left, dated 19(91), 59 x 80 cm Together with another by the same hand,  36 x 44 cm (2) Condition Report:Available upon request

EDWARD HASELL MCCOSH (SCOTTISH b.1949) STILL LIFE WITH VEGETABLES Oil on canvas, signed lower left, dated 19(91), 59 x 75cm Together with another by the same hand, titled EVOCATION OF DINNER, 50 x 59cm (2) Condition Report:Available upon request

20th CENTURY SCHOOL  STILL LIFE WITH GRAPES Oil on board, 48 x 38cm Condition Report:Available upon request

J. JESSOP STILL LIFE WITH ROSES Watercolour, signed lower right, dated (19)34, 20 x 23cm Condition Report:Available upon request

20th century oil on copper, study of a still life scene, indistinctly signed, housed in a glazed and walnut effect frame, 17cm wide, 12.5cm high excluding frame

Nineteenth-century British School, still life with peaches, oil on canvas, 35 x 44cm, framed.

20th century school, oil on canvas, still life of flowers, gilt frame.

Three 20th century school oils, a Venetian scene signed 'I Costello', a landscape scene signed 'Sylvia Docherty' and a still life of flowers, unsigned.

20th century school, oil on canvas, still life of fruit, signed Dickson to lower right, gilt frame, 112cm x 82cm overall.

19THC STILL LIFE WATERCOLOUR OF GRAPES, PLUMS & RASPBERRIES IN OLD GILT FRAME. DATED 1860 ALSO BEARS FEINT INSCRIPTION, G.CLARE 1860, TO REVERSE, 12” X 15”

A 19TH CENTURY STILL LIFE OIL PAINTING SET IN ORNATE GILT GESSO FRAME, DIAMETER 16CM

Flemish school; circa 1680."Vanitas".Oil on canvas.Attached export permit.Inscriptions on the back.Provenance: private collection conceived since the 70's between London and Madrid.Measurements: 122 x 168 cm; 142 x 189 cm (frame).In a leafy landscape a young man sleeps placidly oblivious to the scene that is developing next to him. The human presence is not the protagonist of the scene as it is taken over by the representation of several monkeys that grotesquely recreate human attitudes. These animals appear dressed as court people, with elegant suits and wigs, playing cards and observing the sleeping boy. They seem to have raided his belongings and are having fun with them. However, this anecdotal fact is an excuse to depict a theme of greater moral depth. The depiction of monkeys in the artistic tradition was recurrent due to the fact that this animal was a symbol of sin, thus alluding to a human nature that tended towards vice. In fact, the still life in the foreground shows numerous material goods, jewels and cards from a pack of cards in allusion to gambling, thus representing a kind of Vanitas. Beyond this representation, the scene also invites us to reflect allegorically, as the artist proposes different actions in the same scene that directly allude to the senses.The genre of Vanitas was the one that most concerned this Baroque painter, as one of the themes that most preoccupied painters of the time was the transience of life. Vanitas denounced the relativity of knowledge and the vanity of mankind, subject to the passing of time and death. This genre was particularly popular during the Baroque period, and its title and conception are related to a passage from Ecclesiastes: "vanitas vanitatum omnia vanitas" ("vanity of vanities, all is vanity"). In the 17th century, these moralising still lifes became very frequent as an indispensable complement to preaching and devotion in Europe, in forms and with slightly different intentions in Catholic and Protestant areas.

*Susannah Creese [British, b.1963]Fairy-ring Mushrooms and white-sided Dolphinsigned, titled and dated 1991 lower borderwatercolour and gold gouache on papersight 17 x 37cm;together with a floral still life by Bernard BanksProvenance:Private CollectionThe Creese exhibited Mall Galleries, Winsor & Newton Young Artist Award, 1992 (label to reverse)

Jean Fearon [British, early 20th century school]Still life of flowers in a vasesigned lower leftwatercolour over pencil on paper51 x 37cmProvenance:Private collectionReverse bearing various indistinct paper labels, including one for The Central Institute of Art and Design, National Gallery, London

Two Russian? still life etchings, batik? scene of Fishtail mountain, Nepal, 56cm by 35cm, and Brenda Evans watercolour (4).

A Framed Still Life Print, Fruit, 53x44cms

A game shooting log book of Sir John Loader Maffey, 1st Baron Rugby (1877-1969), with his ownership signature at front, 38 pages of manuscript game shooting entries covering the period August 1912 to November 1915, entries include dates, location of shoots, tallies of various game shot, number of guns, and manuscript remarks "August 12 1912; Benachie Moor (self + Capt Lancelot Gregson); Grouse 60; No. of Guns 2; Remarks - Staying at the place of Tillyfourie on the left bank of the Don, Aberdeenshire. Only other gun Capt. Lancelot Gregson (Gren. Gds.). It had been a good breeding season for grouse and the coveys were big & strong. Unfortunately the weather from 1st August on was wet & blustery so that the birds were very wild by the 12th. The 12th itself was not a bad day, but there was too much wind & cloud. The pointers were almost useless & we gave up using them after 1/2 an hour. But as there were plenty of birds there was no lack of good sporting shots & we were grateful to neighbours on Lickleyhead & Pitcaple moors for a good many driven birds. Spent all day on Benachie, a larch moor commanding a distant view of Aberdeen & the sea to the E[ast] & the valley of the Don to the West. "Oh gin I were where gadie rins at the back of Benachie!"", entries for other shoots at Hadlow Grange Sussex; Kintyre, Borgedal Moor on the Mull; Gartvaigh & Cattadale Moors; Cheviot & North Strone; Macharioch; Tickerage, Marquis of Abergavenny's ground; Shawford; Eisenhurst Park; Ards, County Donegal, Ireland; Fishing, River Wye, Herefordshire "R. Wye in good order but not enough breeze. On 19th March killed a 9 1/2lb fish in Buxton Orchard on a lemon grey fly & another 13 1/2 on a Dusty Miller. On 20th took a fish 20lb in "Shipley" on Dusty Miller & another (11 1/2lb) in Boat Pool. On 21st (a still sultry day) hooked a fine fish, said to be over 30lb, in Shipley on a black doctor, but the hook hold gave in 1 minute at the end..."; final 6 pages of manuscript entries, India, 1913, locations include Buner district and Swat district, Chamkani, Peshawar (all present day Pakistan) "7 partridge 1 sisei[?]. Shooting with Bill Bolton from his camp. Bill Bolton & self. A mixed bag of blacks & greys: morning only. Shooting with Col. Kennior (P.A. Malakand) & Mr Startley. Mostly greys, but I got a nice --- at d---- chikor. Sheba's first effort in India. Two or three good daysin at end of Jan at blacks & greys - two of them with Khaja Alhd Khan of Hamzakot. A 14 1/2lb mahseer at Pihar (Indus) first week of april. Deadbait. Genl. Young & self", plus a few other entries overleaf Delhi, Simla, Taradevi etc, final pencil note by Maffey "This book covers a very small area of my life with rod & gun!", contemporary half calf gilt album (26 x 21cm), all edges gilt, together with some associated ephemera, including small quantity snapshot photos in mountains of India/Pakistan; photograph of River Don/Benachie; two Bharatpur Shoot printed logs/lists Nov 20th 1916 & Jan 12th 1918, both including J.L. Maffey; shooting pass from HM the King Sandringham for Sir John Maffey, Anmer Hall, 1920's (date indistinct); various other printed shooting & fishing passes/cards with m/s entries; postcards Tillifoure, Don, etc. Sir John Maffey held various positions in the Indian Civil Service in North West Frontier Province from 1899-1924, later becoming Governor-General of Sudan and Permanent Under-Secretary of State for the Colonies, and was a key figure in Anglo-Irish relations during the Second World War

20th century school : still life with roses in a vase, oil on canvas, 30 cm x 23 cm, indistinctly signed

Dick Austin (20th century) : still life of pottery bowls and bottle, oil on canvas, 39 cm x 44 cm

Edward Ladell (Brtitish, 1821-1886)Still Life of Mixed Fruit, Walnuts and Wine Glass on a Ledgeoil on canvas41 x 34cm (16'' x 13'')Provenance: MacConnal Mason & Son, 14 & 17 Duke Street, St James's, London SW1Y 6DB

Eloise Harriet Stannard (British,1829-1915)Still Life Study of Grapes and Apple in a Basketsigned and dated 1893 (lower right),oil on canvas20 x 29cm (8 x 11.5in)

Eloise Harriet Stannard (British,1829-1915)Still Life Study with Grapes, Plums and Rosessigned and dated 1882 (lower right),oil on canvas28 x 33cm (11 x 13in)Provenance: Weston Gallery. Weston Longville, Norfolk; Sotheby's, London 'Victorian Paintings' 13/02/1991 Lot 109

Stuart Scott Somerville (British,1908-1983)Still Life Study of Apples on a Platesigned (lower right), oil on board24 x 29cm (9.5 x 11.5in)'Artist’s Resale Rights (ARR) may apply to this lot'

Two still life oils on boards

OIL ON CANVAS OF STILL LIFE - LOUIS VAMERSHOC - 53.5 CMS (H) X 65 CMS (W) INNER FRAME

OIL ON CANVAS OF STILL LIFE DE-LA-SERBIA 1898-1968 - 56.5 CMS (H) X 69.5 CMS (W) INNER FRAME

OIL ON CANVAS OF STILL LIFE - BASTIAN URGECOP - 57.5 CMS (H) X 45.5 CMS (W) INNER FRAME

A pair of watercolours, still life studies

A 19th Century French print - Venus and Adonis, and a watercolour still life study

S Spirling, watercolour "White Flowers" and a still life watercolour study initialled K J N

British School, early 20th century, oil on canvas, still life study, Vase of roses, 75 x 63cm

A BOX AND LOOSE PAINTINGS AND PRINTS ETC, to include an oil on canvas copy of 'Unconscious Sleeper' by Leon Bazile Perrault - has a hole and paint loss, a modern still life flower study oil on canvas, indistinctly signed, watercolour depicting a church in winter signed Albert 2005, Redoute limited edition flower prints, assorted other flower pictures etc

FIVE BOXES AND LOOSE PAINTINGS AND PRINTS ETC, to include a Persian miniature depicting musicians before a ruler, an oil on board depicting a scene inside a Synagogue signed L Krinkler, Vera Lewis watercolour and gouache still life scenes, two Hephziba Rogers watercolour studies of Orchids, and quantity of assorted prints, some are in poor condition

GILT FRAMED DECOUPAGE STYLE STILL LIFE PICTURE

Early 20th Century, a still life composition of mixed flowers, oil on canvas, 30" x 25" (76 x 64cm).

20th Century, a still life of flowers, oil on canvas, indistinctly signed, 24" x 30" (61 x 76cm), (unframed).

Vicpedone, (Late 20th Century), A still life of red, white and orange flowers in a basket, oil on canvas, signed, 20" x 24", (51x61cm).

A.E. Foreman, A still life of mixed flowers in a terracotta pot, oil on board, signed, 16" x 20", (41x51cm).

19th Century, A still life of mixed fruit with a butterfly, oil on canvas, 12" x 10", (30x25.5cm).

R. Schwetter (Early 20th Century) A still life of mixed roses in a glass vase, oil on canvas, signed, 23.5" x 21.5", (59.5x54.5cm).

Christopher Whitford, A still life of fruit, apple, pear and grapes, watercolour, signed, 2.5" x 3", (6x7.5cm).

Giovanni Barbaro (Arthur Dudley) (1864-1915) Italian, A still life of apples in a basket, a jug and mixed grapes, watercolour, signed, 11.25" x 30.25", (28.5x77cm).

19th Century School, A still life study of a horn, beaker and jug, oil on mahogany panel, remnants of an old label verso, 6.25" x 7.25", (16x18.25cm) in a Dutch frame.

James Arthur Morris (20th Century) British, a still life of mixed flowers, oil on board, signed, 24" x 18", (61x40.5cm).