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Ruby: a later gilt framed antique oil on canvas still life with fruit and wasp on a table - signed - small old canvas patch

D. M. Sweeting: a pair of small gilt framed still life oils on panel, both in the antique style with objects set against a black background - signed - sold with a gilt framed coloured print, depicting a group of children

PW: an ornate later gilt framed oil on board still life with blossom and birds nest - signed with monogram and dated 1906

A crate containing a selection of mainly unframed watercolours and other pictures including still life, empty frames and portrait

Large Royal Worcester Style Handpainted 'Fruits' Platter. 'Fallen Fruits' Still Life, apples and blackberries with leaves and butterfly. Monogram JR. 17.5" - 43.75 cm diameter. First quality.

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.

Royal Worcester Superb Large & Impressive Signed Handpainted Fruits - Twin Handled Lidded Bowl & Stand, with embellished 24ct Gold 'Fallen Fruits' Still Life 'Pears & Berries'. Signed D Fuller. Stand - Large Plate 14.25" - 36 cm, Bowl 12" - 30 cm diameter, Height 9" - 22.5 cm. First quality & Excellent Condition.

JAMES GRAY RSW (Scottish fl.1917-1947)  Still life wicker basket of roses  Watercolour, signed lower right, 41cm x 56cm. 

VIOLET MCNEISH KAY RSW (Scottish 1914-1971) *ARR* Still life vase of flowers Oil on board, signed lower right, 19cm x 28cm. Good overal condition . Possible scratch to top left exposing underpaint

Monogrammed LB a modernist Still Life of jug, glass, fruit, watercolour, 22cm x 15cm

Two Victorian oil under glass still life paintings of fruit and flowers, signed, in gilt and mahogany frames, 27 x 48cm

A FRAMED STILL-LIFE OIL

A COLLECTION OF ASSORTED PICTURES AND PRINTS TO INCLUDE A STILL LIFE

GEORGE FANSHAWE: a country still life pastel 'Morning Mist', signed lower right in the margin (15cm square)

DICCON SWAN (British, b. 1947): a cushion framed oil on artist's board still life study of two leeks on a chopping board, signed and dated '84 lower left (29.5cm x 24.5cm)

Modern Eastern European School in Dutch Romantic style - Still life with a profusion of summer flowers and fruits upon a marble ledge, oil on canvas, indistinctly signed (31 x 27 in (79 x 68.5 cm).Condition: Good.

Modern Eastern European School in Dutch Romantic style - Still life with a profusion of summer flowers upon a marble ledge, bears monogram M*I*R*(?) lower right, oil on paper (29¾ x 23½in (75.5 x 59.5 cm).Condition: Good.

Royal Albert Country Rose, Aynsley still life and Japanese cups and saucers along with commemorative mugs and resin animal figures

A group of frames comprising four mid 20th Century watercolours (still-life and countryside scenes) by G A Ellis, two further watercolours by Jan Clutterbuck, a large oil on board of a seascape and a watercolour by Arthur Pank, a pastel scene and several prints

BOB DYLAN (AMERICAN, BORN 1941) - 'The Drawn Blank Series', the set of eight giclee prints comprising Still Life with Peaches, Sidewalk Cafe, Woman in Red Lion Pub, Man on a Bridge, Three Chairs, Mexico, Truck and Motel Pool, each signed in pencil and numbered 171/295, unframed, sheet size 70.0cm x 56cm, published by Washington Green Fine Art, 2011, with COAs, each in a paper cover with original printed grey card lidded box.

19th Century American School 'Still Life with Vase, of Chinese Lanterns and a Bowl of Fruit,' O.O.C., approx. 70cms x 100cms (27 1/2'' x 39 1/2'') signed with initials A.G. and dated (18)'92. (1)

Joseph Rhodes (1782 - 1855) Still Life, 'Pineapple, Plums, Peaches, Grapes and other Fruit,' O.O.C., signed and dated 1852, 24 1/2'' x 30''(63cms x 76cms). (1)

19th Century Continental School Still Life, 'Dead Game and Fruit,' O.O.C., 24'' x 35 1/2'' (60cms x 90cms). (1)

Four retro oil on canvas comprising of two still life of lowers, a landscape after Constable, and a portrait after Lawrence. All in gilt frames.

Oil on canvas of still life of flowers, in gilt frame. 20th century. 70cm x 56cm.

A collection of 7" records (mainly 70's and 80's) including "Boys Keep Swinging" David Bowie, "My Coo Ca Choo" by Alvin Stardust, "You Don't Bring Me Flowers" Barbra and Neil, "Ride A White Swan" T.Rex, "If I Had Words" Scott Fitzgerald & Yvonne Keeley, "What's Another Year" Johnny Logan, "Without You" Nilsson, "I Love To Love" Tina Charles, "Rocking All Over The World" Status Quo, "Bright Eyes" Art Garfunkel, "Follow you Follow Me" Genesis, "Every Day Hurts" Sad Cafe, "I Feel Love" Donna Summer, "All Out Of Love" Air Supply, "Tweedlee Dee" Little Jimmy Osmond, "One Day In Your Life" Michael Jackson, "I Won't Let You Down" PHD, "Hard To Say I'm Sorry" Chicago, "Do I Do" & "Lately" Stevie Wonder, "De Do Do Do De Da Da Da" The Police, "The Power of Love" Jennifer Rush, "Hello" Lionel Richie & "Still" Commodores. Together with a wooden box with cleaning fluid and a cloth for the records

A Second War Italian campaign ‘River Senio’ M.M. group of six awarded to Private W. A. Chapman, 5th Battalion, The Buffs Military Medal, G.VI.R. (5620908 Pte. W. A. Chapman. The Buffs.) naming officially re-impressed; 1939-45 Star; Africa Star; Italy Star; War Medal 1939-45; Efficiency Medal, G.VI.R., 1st issue, Territorial (5620908 Pte. W. A. Chapman. Buffs.) contact marks, nearly very fine (6) £800-£1,000 --- M.M. London Gazette 13 December 1945. The original recommendation states: ‘Private Chapman has been employed as a Stretcher-bearer with “Y” Coy 5 Buffs during the Winter and Spring offensives. Private Chapman has throughout shown courage and endurance beyond praise, always ready to go out and fetch in a casualty no matter what the conditions or how heavy the fire. On one occasion on the Senio when a mine sweeper had trod on a Schu mine, Private Chapman immediately went into the minefield, dressed the wound and carried the man out. On another occasion when an officer had been wounded and two men trying to rescue him had also been wounded, Private Chapman immediately volunteered to go forward with three others to get the casualties back. Despite the fact that this party was fired on by MGs and the whole time the same area was under intense mortar fire, Private Chapman dressed the officer’s wounds and succeeded in getting him back to safety. Then, still under mortar fire, he dressed five wounded men and helped carry a stretcher for a thousand yards across appalling country. Private Chapman’s continual and conspicuous gallantry in action has not only been the direct cause of saving at least two lives but has been an inspiration and source of confidence to all those with whom he served.’ The Historical Record of the Buffs describes the rescue of Lieutenant Tutton on the above occasion: ‘Owing to the flood water, great difficulty had been experienced in evacuating the wounded, and Lieut. Tutton, who was hit six times during the withdrawal of Y Company, owes his life to the gallantry of Sergeant S. Hawtrey and Privates W. A. Chapman, B. A. Passmore and A. D. Storey, who, covered by Private H. W. G. Hill with a 2-in. mortar, went out under the intense fire of machine-guns and rifle grenades to dress his wounds and bring him back to safety. This signal act of bravery brought the Military Medal to Sergeant Hawtrey and Private Chapman.’

A superb Second War 1943 ‘immediate’ Typhoon pilot’s D.F.C. group of six awarded to Squadron Leader I. J. ‘Dave’ Davies, Royal Air Force, a former Corporal Clerk who went on to shoot down 3 FW 190’s during a scrap over the streets of Margate, 1 June 1943 - his first ever engagement with enemy aircraft. A stalwart of 609 Squadron, he went on to add a Dornier 217 to his tally before being posted to command 198 Squadron in time for D-Day operations. Davies successfully led his squadron in an attack on the HQ of the German 84th Corps in a chateau near St. Lo, which was totally destroyed by rocket salvoes, 6 June 1944. His luck ran out when he was shot down by flak whilst attacking gun positions in support of American troops near Cherbourg, 22 June 1944 - ‘He tried to coax it to safety but to no avail and, at 200 feet, Dave bailed out, but he was too low and his parachute was only partially open when he hit the ground’ Distinguished Flying Cross, G.VI.R., reverse officially dated ‘1943’; General Service 1918-62, 1 clasp, Palestine (590433. L.A.C. I. J. Davies. R.A.F.); 1939-45 Star; Air Crew Europe Star, 1 clasp, France and Germany; Defence and War Medals 1939-45, mounted on card for display, with named Air Council enclosure and ‘ticker tape’ entitlement slip, both laminated, nearly extremely fine (6) £3,000-£4,000 --- D.F.C. London Gazette 3 September 1943, the original recommendation states: ‘Flying Officer I. J. Davies joined No. 609 (WR) Squadron, in April, 1943, after long service in Training Command, and previously as Air Gunner. Apart from taking his full share in Day Defensive Patrols which occupied most of the Squadron’s flying time, he at once showed enthusiasm for individual offensive sorties by day and night, whenever the opportunity offered, and in his first attempt damaged the one locomotive (despite flak) and 2 barges, leaving one in a sinking condition. He also has taken part in a number of shipping attacks and larger scale offensive operations. On June 1st he was patrolling base with another pilot when he saw some 15 FW 190’s attacking Margate. He at once engaged them, destroying one over Broadstairs, a second in mid channel and a third off Ostend, being attacked on the way having to evade 2 more enemy aircraft which tried to attack off their own coast when his own ammunition was exhausted. This was Flying Officer’s Davies first combat with enemy aircraft. His score is as follows: 3 FW 190s destroyed, 2 Locomotives and 2 Barges damaged, 1 Motor Trawler damaged (shared). He has also bombed Abbeville and Drucat airfields at night. Covering Remarks by Sector Commander: F/O Davies’ action in destroying three enemy aircraft during the attack on Margate was an outstanding achievement. I fully endorse this recommendation.’ Additional detail of Davies’ remarkable ‘scrap’ over Margate is given the squadron history, The Story of 609 Squadron - Under The White Rose, by F. Ziegler: ‘Davies attacks four FW 190s which are gunning the streets of Broadstairs. Chasing down after them between the houses, with his own guns blazing, he just has time to see one pull up and its pilot bale out before giving chase to another six which are headed out to sea - five in a ‘vic’, with one in the ‘box’. Firing on the last from 600 yards, this aircraft obliges by ‘weaving’, and closing the range he fires twice more, and it crashes into the sea in a great fountain of water. But he himself has to turn, he is alone, but resuming his original course at full boost, spots another pair of 190s, with a third to port. Saving his last second’s worth of ammo till he is well within range, he attacks the last and it bursts into flame. They are now exactly over Ostend, and the others turn to counterattack. Time to go home. Score: Three. A quite breathtaking story which certainly caught the attention of the public when it was published in the National Press on 3 September 1943.’ Idwal James Davies was to later sit for a portrait by Cuthbert Orde, and his life and service are recorded in an article by Wing Commander J. Routledge thus: ‘Let me tell you the story of the recipient of one group of medals in my collection and see if I can convince you that twentieth century awards can compete in interest and in every other way with earlier medals. Idwal James Davies was on February 15, 1915 at Abertridur, near Caerphilly, Glamorgan. At the age of 15, he left his school-friends and the comfort and security of his family to join the R.A.F. as an apprentice clerk. He enlisted on October 29, 1930 and given the service number 590433. His apprenticeship was enjoyable, albeit somewhat long in comparison with today’s service apprenticeships and it was not until February 18, 1933 that his training was complete. He passed out as a Leading Aircraftman (LAC) in the trade of Clerk, General Duties... The first real excitement for young Dave, as he was known throughout his service career, came in October 1935 with a posting to Iraq, from where he moved on to Palestine in August 1936... Yet he was a discontented young man, whose heart was never in clerical work as he yearned for more excitement. His mind was forever in the air and he dreamed of emulating the aviators that he mingled with. He took every opportunity to get airborne and despite his secretarial role managed many flights as an unofficial air gunner. One particular pilot who befriended Dave in those Palestine days was Pilot Officer J. C. Wells [later Group Captain and D.F.C. and Bar]: their paths would cross again in years to come. With promotion to Corporal on August 15, 1937 and further advancement to the temporary rank of Sergeant, on the outbreak of World War Two, things were beginning to move for Dave, though he was still far from content. The taste he had experienced for flying was still there and had left in him an avid desire to become a fighter pilot. Surely, now that we were at war his services would be needed; clerks were two-a-penny, but fighter pilots...? He pressed his case and was eventually accepted for pilot training, which started in August 1940. He quickly proved himself to be a natural aviator and successfully completed training in April 1941, being awarded his wings and simultaneously being granted a commission as Pilot Officer (service number 63418) in the General Duties Branch (London Gazette May 2, 1941). He was now over 25 years of age, a little old to be starting a career as a fighter pilot. The air battles of France and Britain had been fought and the ex-clerk felt it was now too late, believing that his chance of glory had been missed. His above average flying ability and his maturity in comparison with the many teenagers coming through training combined against him and it should have been no surprise, albeit still a great disappointment, that Pilot Officer Davies found himself retained on instructional duties, the first of a series of such tours in Training Command. Not what the ambitious Dave would have planned for himself and as Charles Lovell would have said, “Not a lot of romance in that.” Dave was appointed to the rank of Acting Flying Officer on May 23, 1941 to give him some authority in his new position and he quickly became something of a character, admired by his students and fellow instructors alike. He was something of a rebel. There were moments of madness which, in a peacetime airforce, could have ruined him. At R.A.F. Little Rissington, in the spring of 1942, he was tried by General Court Martial for “Whilst on active service improperly and without permission flying below the prescribed height&rdq...

A scarce Second War ‘1945’ A.F.C., ‘1939’ A.F.M. flying instructor’s group of four awarded to Sergeant Pilot, later Wing Commander, J. Shearsmith, Royal Air Force Air Force Cross, G.VI.R., reverse officially dated ‘1945’; Air Force Medal, G.VI.R. (363255. S. Sgt. J. Shearsmith. R.A.F.) double-struck in places; Defence and War Medals 1939-45, mounted for display on card, generally nearly extremely fine (4) £2,600-£3,000 --- A.F.C. London Gazette 14 June 1945, the original recommendation states: ‘No. 7 Flying Training School (total instructional flying hours - 3230). As assistant to the Chief Instructor Flight Lieutenant Shearsmith has made an outstanding contribution to the efficiency of Flying Training Command. At all times he has displayed marked ability, loyalty and devotion to duty. Although, in his present capacity, much of his time is devoted to administrative detail, he has retained exceptional keenness to keep close contact with the flying instruction personal participation.’ A.F.M. London Gazette 2 January 1939, the original recommendation states: ‘This NCO pilot has been a flying instructor in the Intermediate Training Squadron of this unit from 9 Nov 1936 to 23 May 1938 and was then transferred to the Advanced Training Squadron. During the year ending 30 Sept 1938 he completed a total of 278 hours flying. I recommended this NCO for the Air Force Medal in February of this year in view of his extremely valuable flying services under peace conditions and since that date he has still continued to carry out such services. I look upon him as a very efficient pilot and an extremely competent instructor both in single and twin-engined aircraft, and he is most hardworking, energetic and conscientious in all his duties. He also instils the proper confidence in all pupils with whom he is dealing, and such pilots that he has trained have reached a standard which I consider highly commendable. His thoroughness in the work now allotted to him in the Advanced Training Squadron and his experience and efficiency in both squadrons have been of great value to the Service. Beyond his very excellent ability as an instructor at a Flying Training School, he is gifted with that sense of duty and bearing required of a NCO. Taking the excellent all-round work of this NCO during the time he has been at this unit, and the very great amount of work that has been given him during this expansion period, I feel that he is deserving of recognition. I therefore very strongly recommend him for the Air Force Medal. Air Officer Commanding remarks: Sergeant Shearsmith has, by his exceptional skill and devotion to duty as a Flying Instructor, performed most valuable work in No. 6 Flying Training School. I recommend the award of the Air Force Medal as an appropriate recognition of his services.’ Jack Shearsmith was born in Selby, Yorkshire in April 1907, and enlisted in the Royal Air Force as a Halton Apprentice in the 6th Entry in September 1922. Having passed out and mustered as a Fitter Aero Engine, he was posted for service with 6 Squadron in Iraq, September 1927. Shearsmith returned from Iraq in October 1929, and remustered as a pilot under training in June 1931. Shearsmith carried out his training at 4 F.T.S., and was promoted Sergeant in March 1932. Having served in Egypt on and off between 1930 - 1936, Shearsmith qualified as a Flying Instructor in November 1936. Shearsmith was posted to the Central Flying School in August 1936, and then to 6 F.T.S., Little Rissington, in November of the same year (presented with his A.F.M. by the A.O.C. at the station in February 1939). He was discharged to a commission in March 1940, and was granted an Emergency Commission as Pilot Officer on probation in the General Duties Branch the following month. Shearsmith briefly stayed as an instructor at 6 F.T.S., before serving at 7 F.T.S., April 1940 - September 1943. He advanced to Flight Lieutenant in April 1942, and to Acting Squadron Leader in February the following year. Subsequent wartime postings included at 18 (Pilots) A.F.U. and 7 (Pilots) A.F.U., before being appointed Chief Ground Instructor at 7 F.T.S. in April 1947. Shearsmith transferred to Aircraft Control Branch in November 1947, and to Fighter Control Branch in July 1949. He advanced to Squadron Leader in January 1952, and subsequent postings included with H.Q. 66 Group, H.Q. 12 Group, H.Q. Met Sector and as Master Controller at No. 144 Signals Unit, Bawdsey. Shearsmith advanced to Acting Wing Commander in April 1957, and retired three years later. Wing Commander Shearsmith resided at 13 Carleton Crescent, Walton, Peterborough in later life, and died in September 1977. Sold with copied service papers, and research.

An unusual campaign group of eight awarded to Captain, later Flight Lieutenant, S. Hooper, 1st Welsh (Howitzer) Brigade, Royal Field Artillery (T.F.), Royal Flying Corps and Royal Air Force Volunteer, who was awarded the Royal Humane Society Medal in bronze for saving the life of his observer when their aircraft came down into the sea off Folkestone, 26 February 1917. He was mentioned in despatches during the Second World War, and died aged 62 whilst still in service in December 1945 British War and Victory Medals (Capt. S. Hooper. R.A.F.); Territorial Force War Medal 1914-19 (Capt. S. Hooper. R.A.); 1939-45 Star; Africa Star; Defence and War Medals 1939-45, with M.I.D. oak leaf; Air Efficiency Award, G.VI.R., 1st issue (Flt. Lt. S. Hooper. R.A.F.V.R.) mounted on card for display, generally good very fine or better (8) £360-£440 --- M.I.D. London Gazette 1 January 1943. Royal Humane Society Case no. 43942 (bronze, successful): ‘On 26 February 1917 at sea off Folkestone at 1pm - An aeroplane with the two men (Sgt G. C. Powell, RFC and Hooper) came down in the sea about half a mile from shore: both had heavy clothing on. Sgt. Powell became exhausted and Captain Hooper swam with him nearly to land when a boat reached them.’ Stanley Hooper was born in Upton Park, London in July 1883. He served as a Trooper with the 1st City of London Yeomanry prior to being commissioned Second Lieutenant in the 1st Welsh (Howitzer) Brigade, Royal Field Artillery (Territorial Force) in June 1913. Hooper advanced to Lieutenant in August 1914, and to Temporary Captain in May 1915. He served in the French theatre of war from June 1915 (he tried to claim a 1914-15 Star, but his MIC correctly gives him as ‘Ineligible’, and he was awarded the TWFM in June 1922). Hooper advanced to Captain in June the following year, and transferred to the Royal Flying Corps in October 1916. Hooper initially trained as a pilot, and was stationed at the Auxiliary School of Aerial Gunnery when his aircraft came down into the sea off Folkestone, 26 February 1917. He lost his aircrew medical category, 24 April 1918, and was classified as ‘fit for general service ground duties only.’ Hooper was reclassified as a Technical Officer for the remainder of the war, and it was in this specialisation that he went out to the Middle East and India in August 1918. Hooper left the R.A.F. in June 1919, and joined the R.A.F.V.R. as a Pilot Officer on probation in May 1939 (aged 56). He advanced to Flight Lieutenant, and died aged 62 whilst still in service, at Harrow Hospital, Middlesex in December 1945. Flight Lieutenant Hooper’s Air Effiency Award was issued to his next of kin in January 1950. He is buried in Harrow Cemetery, Middlesex. Sold with copied research.

An Indian Mutiny medal to Surgeon-Major G. M. Ogilvie, Bombay Medical Service, awarded the C.B. for his services as officiating Sanitary Commissioner and Superintendent of Jails during the siege of Lucknow Indian Mutiny 1857-59, 1 clasp, Defence of Lucknow (G, M, Ogilvie, M.D.) extremely fine £2,000-£2,400 --- Note: A second medal is known to this officer and was sold in these rooms as part of the Brian Ritchie Collection, September 2004. Issued off the rolls of the Bombay Medical Department it has an additional clasp for Lucknow and is named ‘Surgn. G. M. Ogilvie, Supt. of Jails’. The medal now offered appears to have been issued off the Civilian rolls, a not uncommon instance of a double issuance. George Mathieson Ogilvie, the son of Major Ogilvie of the Madras Infantry, was born at Secunderabad on 28 December 1818, and studied medicine at Edinburgh. Having ‘applied himself with great diligence to the Study of and Practice of Surgery’, as required by the H.E.I.Co., he was nominated an Assistant Surgeon on the Bombay Establishment by Captain John Shepherd, Esq., on the recommendation of Captain Stevens. Ogilvie was appointed Assistant Surgeon on 9 March 1841, and was attached to the European Hospital on arrival at Bombay in July of that year. In January 1842, he was directed to join the Scinde Field Force and take medical charge of the left wing of the 15th Bombay N.I. The following year he was placed at the disposal of the Superintendent of the Indian Navy and was directed to conduct the duties of Port Surgeon, presumably at Bombay. After home leave in 1847, he was appointed to the 13th Bombay N.I. and following another period of leave to Europe, he was appointed Garrison Surgeon at Bombay. Promoted Surgeon in 1855, he was next appointed, in 1856, to the charge of ‘Jails and Dispensaries in the province of Oude’, a post which brought him to Lucknow. On 2 July 1857, the second full day of the siege of the Lucknow Residency, Dr Ogilvie, who had been appointed Garrison Sanitary Commissioner, was summoned to Dr Fayrer’s house. Sir Henry Lawrence had been severely wounded in the Residency building while talking to the Assistant Adjutant General, Captain Thomas Wilson. Wilson and others moved him to Fayrer’s house as the Residency was still under heavy fire, and there Ogilvie and his colleagues foregathered. ‘There was nothing to be done for the dying man beyond checking what little haemorrhage was present, supporting the injured limb with bandages and pillows, and giving stimulants to counteract shock. When the pain became excessive Dr Fayrer gave him chloroform. He consulted Dr Partridge and Dr Ogilvie on the question of operating, but they both agreed that it would be hopeless. They were satisfied, after a further examination under anaesthetic, that the pelvis was fractured, and that it would therefore be useless to amputate at the hip joint. Even if the thigh bone alone had been broken, it was doubtful whether the patient could have stood the shock of amputation.’ Lawrence’s nephew, George, ‘was constantly beside him. Dr Ogilvie keeping him company, while Mrs Harris, Mrs Dashwood, and Mrs Clarke helped to nurse him. He seemed to Mrs Harris to be suffering the utmost agony, but Dr Fayrer did not believe that the pain was intolerable. During the 3rd July Lawrence was gradually sinking, and took nothing but a little arrowroot and champagne. At eight o’clock on the morning of the fourth he died, so quietly that his nephew, who had just been shot through the shoulder and was sitting at his feet, did not know he was dead until Dr Ogilvie told him.’ His dying words, “I forgive everyone - I forgive my brother John”, referred to a disagreement he had had with his younger brother and colleague on the Punjab Board of Administration, which had resulted in his appointment at Lucknow. In his capacity as Sanitary Commissioner, Ogilvie had managed reasonably well before Chinhut but afterwards, with the Indian sweepers deserting daily, and the troops being otherwise employed, his department struggled to allay the constant reek of carrion and ordure. With the temperature averaging 110° and with torrential monsoon downpours, the health of the garrison soon began to suffer. Child mortality increased and there were several cases of cholera. Painful boils appeared on the faces of many Europeans, and ‘not in a single case had the amputation of a limb saved the patient’s life’. On 15 September Mrs Soppitt, whose small son had died of cholera at the beginning of the siege, made an entry in her journal concerning Ogilvie’s wife and reflecting the scarcity of food: ‘Bought a bullock’s heart at a fabulous price, 10/-. Mrs O., wife of a doctor, who was a personal friend of Outram, gave me a sheep’s head.’ As Sir James Outram and Sir Henry Havelock fought their way towards the Residency with the First Relief Force on 25 September, Ogilvie was ordered to find out how many carts would be needed to evacuate the non-combatants, though the so-called Relief Force turned out to be no more than a reinforcement. Rashly, the ‘garrison had concluded that at last there was no need to stint. At the Brigade Mess, where several dozen of champagne had been hoarded against the relief, every man was free to eat and drink his fill. The officers of the relieving force were astonished to find the men they had relieved living, as they thought, in such style, having looked to find them eating horse flesh or even rat.’ The arrival of the First Relief Force, however, gave Ogilvie the necessary labour to overhaul the sanitary arrangements, clear away the accumulated filth and the carcasses of dead animals from the neighbourhood of the Residency and the extended perimeter around the palace area. Both Doctor and Mrs Ogilvie survived the siege and were evacuated from the Residency by Sir Colin Campbell’s relief force in November. Ogilvie was thanked for his services in Brigadier Inglis’ despatch (London Gazette 16 January 1858), and subsequently received the thanks of the Government of India. On being withdrawn, Ogilvie was instructed to ‘continue in charge of the families of the Lucknow Garrison while in progress from Cawnpore to Allahabad’. His name further appeared on Outram’s ‘Recommendatory List’ - ‘Surgeon G. M. Ogilvie officiated as Sanitary Commissioner throughout the siege. To his very efficient performance of his important duties, with inadequate means, is to be attributed our comparative immunity from sickness, both before and after General Havelock’s junction.’ In July 1858 the Ogilvies left India on home leave for eighteen months, and in January 1859, the Doctor received tangible recognition of his efforts at Lucknow, when he received from the Queen the insignia of a Companion of the Bath which had been announced in the London Gazette of 16 November 1858. In 1860 he became a M.R.C.P. and early the following year he was promoted Surgeon Major. He died soon afterwards at Suez on 26 October 1861. Refs: Hodson Index (NAM); IOL L/MIL/9/388; IOL L/MIL/12/85; Ordeal at Lucknow (Joyce).

Deacon (20thC). Still life, vase of flowers, oil on canvas, signed, 41cm x 46cm.

Woolf (Virginia). Orlando, 1st edition, London: Hogarth Press, 1928, half-tone illustrations, contemporary presentation inscription to half title, slight toning to endpapers, original cloth, spine faded, one or two small stains, 8vo, together with Spender (Stephen). The Still Centre, 1st edition, London: Faber & Faber, 1939, contemporary presentation inscription and quote from W.B. Yeats at front, original cloth, dust jacket, spine toned, a little rubbed, 8vo, plus Arkwright (William). Knowledge and Life, Memorial Edition, London: John Lane, 1930, portrait frontispiece, partly unopened, top edge gilt, original cloth, spine a little faded, 8vo, limited edition of 100 copies, with 27 others including Green Arras, by Laurence Housman, 1st edition, 1896, Narrative of the Battle of Jutland, HMSO, 1924 Edmund Blunden's A Summer Fancy, Beaumont Press, 1930 (limited edition 197/405, More P:oems by A.E. Housman, 1936 (limited edition 15/579), A Prospect of the Sea and other stories and prose writings by Dylan Thomas, 1955, and Radcliffe, by David Storey, 1963QTY: (30)

Vinyl Record LP's including The Beatles - Beatles For Sale - PCS 3062; Abbey Road - PCS 7088; 1967-1970 - PPCSP 718; John Lennon - Shaved Fish - PCS 7173; Imagine - PAS 10004; Wings - Venus And Mars - PCTC 254; Wings Over America - PCSP 720; The Rolling Stones - Exile On Main Street - COC 69100; Goats Head Soup - COC 59101; Steel Wheels - CBS 465752; Still Life - 1C 086-64 804; Get Stoned - ADE P32; Dirty Work - 86321 (13)

William Cruickshank (1848 - 1922)Still Life, Bird's Nest and Flowerssigned, watercolour, 23cm x 29cm

A Lynton porcelain barrel-shaped scent bottle, painted by Stefan Nowacki, monogrammed, with a still life of flowers and musical instruments, wrythen gilt line ground, knop stopper, 7cm high, gold printed mark

Unsigned watercolour, Still Life, 63 x 46cm

Camilla Göbl - Still Life of Roses, early 20th century oil on canvas, signed, 40.5cm x 57cm, within a gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Emily Beatrice Bland - Still Life of Flowers in an Urn, early 20th century oil on board, signed recto, label verso, 28cm x 23cm, within an ebonized frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A.V., British School - Still Life with Summer Flowers, mid-20th century oil on canvas, signed with initials, 54.5cm x 65cm, within a gilt composition frame.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Box of Glass Lantern Slides comprising 3¼ x 3¼in. (83 x 83mm) monochrome glass lantern slides, subjects include 19th century cartoons from Punch and other sources on political and other topical matters, other slides with photographs of still life and decorative designs in a long wooden box approximately 70cm in length (200 approx slides)

PAMELA BONE (1925-2021) Six Creative Colour Landscapes, printed or framed 2012, a set of six colour photographs, Cibachrome prints, each from (1970s?) negatives of manipulated images using pre-digital technology, some or all these prints are from multiple superimposed negatives, five signed in ink on the image, four with photographer's hand written notes taped verso regarding the images and framing, images 31cm x 29.3cm, in identical glazed frames 51cm x 49cm Note 1: These six photographs were selected by Pamela Bone and were displayed together at her in residence in Dorking, Surrey Note 2: : Pamela Bone (Lady Pamela Goodale) Pamela Bone (British, 1925-2021) created a significant body of experimental photographic works between 1952 and 1992. Though some of her works were published and exhibited in her lifetime – and she collaborated with notable figures in the world of film, conceptual art and electronic music during the 1970s – this innovative work is now being re-assessed and appreciated. At her death Bone bequeathed her photographic works to the Victoria and Albert Museum. Martin Barnes, Senior Curator, Photography, at the V&A oversaw the accession of this collection. Pamela Bone’s estate included some multiples and small editions of some of her works, these have been released for sale by auction at Flints. Please note that purchasers acquire the original physical print or artwork, where an image is also held in the V&A’s collection, the V&A holds copyright to reproduction of that image. Martin Barnes has summarised Pamela Bone’s career and work: “Bone attended Guildford School of Art between 1952-54, creating black and white still-lifes and portraiture alongside colour work. In 1953, she also studied in Paris with advertising and portrait photographer André Thevenet and worked in advertising. Her photographs were published in Photomonde, Vogue, Queen and House and Garden magazines. In 1958, she went to stay with a student friend in Calcutta and from there travelled throughout the following year in India, Sikkim and Kashmir. On returning to the UK, she abandoned commercial photography and focussed on independent art practice. She photographed in North Uist, Outer Hebrides and around Dartmoor, for her Dartmoor Trees and River series. She also studied sound recording. From 1965 Bone began experimenting with a conceptual slide show of her transparencies, based around the themes of her travels, the seasons and children, still life and landscape. She applied this approach in her printing methods, which combined and overlayed transparencies and prints from different periods with photograms to create dreamlike, textured impressions of imagined landscapes. This culminated in Circle of Light, (1972) an experimental film created from transparencies by Bone collaborating with filmmaker Anthony Roland, video art and installation artist Elsa Stansfield (1945-2004) and composer Delia Derbyshire (1937-2001) of the BBC Radiophonic Workshop (and who famously recorded the Doctor Who theme tune). A VHS copy of Circle of Light is in the V&A National Art Library (NAL). Bone’s approach to collaging and recombining works became her main approach and is a pre-cursor to contemporary practices of sampling. In 1973, she married Sir Ernest William Goodale, becoming Lady Pamela Goodale, but she continued to sign her artworks with her maiden-name. Bone was a lifelong follower of Christian Science. There were many books by the movement’s founder, the religious leader and author Mary Baker Eddy (1821- 1910) in her library. Bone was shy and reclusive and worked largely in seclusion. She set up a Cibachrome colour processing darkroom in 1981 in an outbuilding at her home in Dorking. This process allowed her to make her own direct colour positive prints from her colour transparencies. She made use of ‘lith’ printing as overlay masking for her cibachromes, and also produced pictures using silks. An exhibition of cibachrome prints, Let There Be Light was shown at West Dean College in 1991. Bone ceased printing in 1992 but began meticulously preserving her works. Towards the end of her life, she produced two limited-edition, hand-printed publications of her photographs, Wings of the Wind (2000) and Seven Doors: Finding Freedom of Expression Through Photography (2009) both in the NAL”

Pair of modern furnishing pictures, still life studies, oils on board. Heavy gilt frames. 18x23cm approx.(2) (B.P. 21% + VAT)

Eileen Tierney ( British 20th century), still life study vase of flowers, signed, watercolours. 29x37cm approx. Framed. Together with an 'Old Master' furnishing print on canvas. (2) (B.P. 21% + VAT)

GRAHAM BENTON R.B.S.A (BRITISH 1934-2022) 'STILL LIFE WITH STRAW', five abstract still life studies featuring pottery vases and a drinking straw, all signed and dated '13 bottom right, mixed media on board, largest approximate size 32cm x 47cm, smallest approximately 28cm x 33cm (Condition: smallest painting is separating from the backing board, frames have some damage) (Artist resale rights apply) (5)

GRAHAM BENTON R.B.S.A (BRITISH 1934-2022) 'STILL LIFE WITH STRAW', five abstract still life studies featuring pottery vases and a drinking straw, two signed bottom right, two with attribution labels verso, one unsigned but probably by Benton, mixed media on board, largest approximate size 30cm x 40cm, smallest approximately 18cm x 23cm (Condition: frames have some damage) (Artist resale rights apply) (5)

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

William "Bill" Mills (Welsh, 1923-1997),"Ceret" a Rhonda valley scene,Watercolour on paper,Initialled and dated "91" for 1991 lower right, signed and titled to gallery label verso, 24cm x 34cm,Framed and glazed,With a further watercolour on paper depicting chickens in a country lane, signed "A Wolfenden", 26cm x 11cm, framed and glazed; and a watercolour still life with flowers in a glass bowl, monogrammed and dated "1931" lower right, 25cm x 30cm, framed and glazed (3)

L Prost (Dutch, early 20th century),Still life with grapes and peaches,Oil on canvas,Signed lower right,59.5cm x 49cm,Gilt framed

Pencil inscribed with the sitter's name on upper stretcher verso, oil on canvas50 x 40 in. (127 x 101.6cm)Executed circa 1710-1720.Housed in a period giltwood frame.ProvenanceBy family descent to Captain Robert Archibald James Montgomerie R.N. (1855 - 1908) of Edinburgh.To his son Captain Robert Victor Campbell Montgomerie-Charrington, 1st Life Guards, of Newport, Rhode Island.Thence by family descent.Private Collection, Massachusetts.NoteJohn Campbell was a Knight of the Garter and senior commander of the British Army. He served first on the continent during the Nine Years War, and fought at the Battle of Kaiserwerth during the War of the Spanish Succession. Most famously, he commanded the troops that put down the 1715 Jacobite rebellion. He died in 1743 and his body still remains in Westminster Abbey, not far from Henry VIII. To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Oil on canvas50 x 40 in. (127 x 101.6cm)Executed circa 1710-1720.Housed in a period giltwood frame.ProvenanceBy family descent to Captain Robert Archibald James Montgomerie R.N. (1855 - 1908) of Edinburgh.To his son Captain Robert Victor Campbell Montgomerie-Charrington (1887-1939), 1st Life Guards, of Newport, Rhode Island.Thence by family descent.Private Collection, Massachusetts.NoteBrother of John Campbell, 2nd Duke of Argyll, Archibald Campbell studied civil law at Eton College and the University of Edinburgh and famously appears in Robert Louis Stevenson’s David Balfour. Less proactive on the military field that his brother, he still joined the Army in 1703 and fought under the Duke of Marlborough for a time. Following the treaty of the Union, he was elected as one of the sixteen Scottish peers to sit in the House of Lords alongside Daniel Campbell.While there are a few known versions of Aikman’s portrait of the Second Duke, the present work seems to be the only representation of his brother, the Third Duke, of whom there are relatively few surviving portraits other than two later works by Ramsay. Daniel Campbell presumably commissioned the two portraits of the Second and Third Dukes of Argyll both out of clan loyalty as Chiefs of the Campbell clan, but also to acknowledge, and honor his business relationship with them. Daniel Campbell indeed became their principal banker at the turn of the 18th century, his wealth eventually exceeding theirs considerably. It is recorded that the Second Duke originally asked Daniel Campbell’s advice as to whether he should buy the island of Islay, and when Daniel considered the advantageous proposition, outbid the Duke and bought it himself instead.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

Signed 'Frits Thaulow.' (underlined) bottom left, oil on canvas32 x 39 1/2 in. (81.3 x 100.3cm)Please note this Lot will be on view in New York City at the National Arts Club (15 Gramercy Pk S) the week of January 23. To make an appointment, please contact Raphael Chatroux at rchatroux@freemansauction.comProvenanceCollection of Mr. and Mrs. Edmund Lyon, Buffalo, New York (acquired in Paris cira 1924)By descent to Mr. and Mrs. Francis K. Remington, Rochester, New York, circa 1938.By descent to Mr. and Mrs. William Moore Dietel, New York, New York and Flint Hill, Virginia, since 1995.NoteBorn in Oslo in 1847, Frits Thaulow found modest success as a painter of marine and coastal subjects under the tutelage of C.F. Sørensen at the Academy of Fine Arts in Copenhagen. Following a short tenure in the studio of Hans-Fredrik Gude in Karlsruhe, Germany, Thaulow committed—in large part, for the remainder of his career—to painting landscapes, first in his native Norway and, subsequently, across northern and northwestern France.Thaulow’s views of the 1880s and 90s reveal a selective commingling of styles then au courant, from French academic Realism to Naturalism—in the manner of artists Léon Augustin Lhermitte and Jules Bastien-Lepage, whose paintings he would have encountered in Paris the previous decade—to Impressionism. A close friend of Monet and brother-in-law of Paul Gauguin (who, by the late 1870s was still painting in an impressionistic mode), he cultivated an approach that exploited the strengths of each movement. Retaining the compositional structure of mid-century Realism, Thaulow explored the relationship between humans and nature à la Naturalism, while embracing the Impressionist preoccupation with color, light, and atmosphere. His carefully studied depictions of canals, riverbanks, and rural hamlets—the bulk of his output across the final two decades of his life—best reflect this synthesis.Settling in France in 1892, Thaulow executed a spate of characteristic and critically-acclaimed canvases, mostly in and around the villages of Montreuil-sur-Mer (1892–94), Dieppe (1894–98), where he maintained a studio, Quimperle in Brittany (1901) and Beaulieu-sur-Dordogne (1903). The present work likely dates to this fertile period. From an elevated and downward-looking perspective, viewers are transported canal-side. Sharply foreshortened under a cobalt-and-cloud-filled sky, water gently eddies into the middleground of the composition. Flanked by trees and a series of barns and outbuildings on either side, the canal dominates the composition. Figures and a horse-drawn cart are all but enveloped by the landscape—an acknowledgement, perhaps, of the waterway’s importance to the life and livelihood of the village. Hallmarks of Thaulow’s mature style—staccato brushwork, mirror-like reflections, and an intuitive juxtaposition of light and shadow–recommend the scene.To request a condition report, or for any additional information, please email Raphael Chatroux at rchatroux@freemansauction.com.

JAIME COLSON (Dominican Republic, Puerto Plata, 1901-Santo Domingo, 1975)"Face in Profile, 1941.Fresco painting.Signed and dated on the back.Size: 9 x 9 cm; 21,5 x 21,5 cm (frame). is considered one of the founders of the modernist school of Dominican painting, together with Yoryi Morel and Darío Suro. In this still life, the interest that predominated in his plastic work is made explicit: the search for an expressive and formal synthesis of Cezannian heritage. The vegetables, together with the glass jars, make up an ensemble in which an allegorical message possibly underlies, in keeping with the legacy of European Baroque mystical painting. Critics classify his work as part of post-Picasso neo-humanism. This can be summed up in the formal economy combined with the mystical tendency. In 1918, at the age of 17, he moved to Spain, where he studied at the Llotja in Barcelona. He exhibited at the Salón de Otoño in Madrid (1923). In 1934 he moved to Mexico. He exhibits at the Sala de Arte de la Secretaría de Educación, and together with Diego Rivera, José Clemente Orozco, David Alfaro Siqueiros and Rufino Tamayo at the inauguration of the Galería de Arte (1935). In 1937, Colson was awarded the Prize of Honour at the Estampas de América exhibition held in Mexico. In 1938, he exhibited for the first time in his country, at the Ateneo Dominicano. In 1945, Colson wins the First Prize at the International Exhibition in Bilbao, Spain. In 1949, he exhibited at the Galerie de la Rue Campagne Première in Paris. In 1952, he was appointed Director General of Fine Arts. He won the First Prize for Drawing at the VIII Biennial of Santo Domingo. In 1962, he was appointed director of the School of Mural Painting at the National School of Fine Arts. His last exhibition was held in 1973 at the Sala de Arte María Rosa, an anthology of his work.

JOSEP AMAT PAGÈS (Barcelona, 1901 - 1991)."Flors, gerro fosc".Oil on canvas.Signed in the lower right corner.With label on the back of the Sala Parés, Barcelona.Attached leaflet of the exhibition in which it was included: "Josep Amat: exposició de pintura", Sala Parés, 1981.Published in the newspaper La Vanguardia on 28 February 1981. Attached original sheet.Measurements: 65 x 50 cm; 68 x 53 cm (frame).In this floral still life, Josep Amat displays an attractive chromatic symphony using a luminous palette. The serpentine stems are topped with open corollas that endow the whole with multicoloured delicacy. The vase, placed on a gueridon-type table, is cut out in front of a window through whose panes of glass the spring greenery is prolonged.Josep Amat trained at the Llotja School in Barcelona and was a favourite pupil of Joaquim Mir. In 1922 he took part in a group exhibition for the first time and sold his first landscape. Six years later, in 1928, Amat made his solo debut with an exhibition of twenty-eight works at the Dalmau gallery. From then on he exhibited individually in the most important galleries in Barcelona. In 1933 he took part in the Spring Salon, winning prizes in that edition and also in those of the following two years. That same year he travelled to Paris for the first time, where he became known in 1936 in a group exhibition. In 1940 he exhibited for the first time at the Sala Parés, where he exhibited frequently until 1987. During these years he took part in the Barcelona Spring Salon, winning prizes in 1932, 1933 and 1935. He also took part in the National Exhibitions, being distinguished in Madrid with a third medal in 1941, and in Barcelona with a medal in 1934, a diploma in 1942 and the Diputación prize in 1944. In 1943 he exhibited for the first time in Madrid, in the Sala Vilches, and in 1949 he settled for a time in Paris, where he developed an intense pictorial work. Now fully consolidated, Amat held exhibitions in Spain, Paris, Brussels and Havana. At the outbreak of the Civil War he was forced to give up plein air painting and began a period centred on figures and interiors. In addition to his awards in national competitions, he won the José Ramón Ciervo prize at the Second Spanish-American Art Biennial in Havana in 1953. Other mentions he received were the Gran Premi Sant Jordi (1955), the Ynglada Guillot drawing prize (1963) and the Gold Medal of the Barcelona International Painting Fund (1981). Between 1942 and 1970 he taught landscape painting at the Barcelona School of Fine Arts. He joined the Sant Jordi Royal Catalan Academy of Fine Arts in 1981, with a speech entitled "History of Landscape". This painter is remembered as the leading exponent of 20th-century Catalan Impressionism, and has been honoured with various exhibitions, including one organised by Barcelona City Council at the Espai Pruna in 2001 to mark the centenary of his birth, as well as the Cross of Sant Jordi (1988). His work is represented in the Thyssen-Bornemisza Museum, the Museum of Montserrat and the National Art Museum of Catalonia.

JUAN MANUEL DÍAZ CANEJA (Palencia, 1905 - Madrid, 1988)."Still life".Oil on canvas.Signed in the lower right corner and on the back.Measurements: 60 x 73 cm; 69 x 82 cm (frame).Juan Manuel Díaz Caneja was a cubist painter, known and appreciated, above all, for his settings in the Castilian landscape. In 1923 he began studying architecture at university in Madrid, and attended classes in Daniel Vázquez Díaz's studio to prepare for the subject of drawing. He soon discovered his passion and left his studies to devote himself to painting. He took an active part in avant-garde cultural life, especially while living in the Residencia de Estudiantes in the capital. In 1927 he met the members of the Vallecas School Benjamín Palencia and Alberto Sánchez Pérez.He saw and studied Cubism at first hand when he spent the winter of 1929 in Paris. In 1930 he settled in Saragossa, where he shared a studio with Manuel Corrales and González Bernal. A year later, in Madrid, he published with Herrera Perete an anarchist, Dadaist and surrealist magazine called "En España ya todo está preparado para que se enamoren los sacerdotes" ("In Spain everything is ready for priests to fall in love"), and began his long list of exhibitions with his first solo exhibition three years later. After meeting his future partner Isabel Fernández Almansa, he joined the Communist Party of Spain, an affiliation he would maintain throughout his life, and joined the National Confederation of Labour. He served on the Republican side during the Civil War, after which he lived and worked in Madrid. In order to avoid censorship, his main subject was landscape, for which he would become so well known. He was arrested and imprisoned in 1948 for his links with the Republicans, spending three years in prisons (Carabanchel and Ocaña), but never stopped painting. His work was, however, recognised with various awards (National Painting Prize in 1958; First Medal at the National Exhibition of Fine Arts in 1962; Spanish National Plastic Arts Prize in 1980; Castilla y León Prize for the Arts in 1984) and with the creation in Palencia in 1995 of a foundation named after him, which has its headquarters in the city's Museum of Contemporary Art. His work has been exhibited in Madrid, Santander, Bilbao, Paris, Copenhagen, Zaragoza, Pamplona, León, Valladolid, Rome, etc., and is held in important private collections all over the world and in leading institutions (his aforementioned foundation, the Museo Centro de Arte Reina Sofía in Madrid, the Guggenheim Museum in New York, the Museo Patio Herreriano in Valladolid, the Museo de Bellas Artes in Bilbao, etc.).

CONTINENTAL SCHOOL, 19TH CENTURYStill life with table of different fruits, a glass goblet of wine, brass cup and jugOil on copper, 28 x 32cm

A SEMI-ANTIQUE BLUE GROUND RUG, 20TH CENTURYthe central reserve woven with depictions of birds and deer amongst a floral and foliate still life. 210 x 138cmCondition Report: Good overall Some staining and fading in partsFringe cut on one end Some evidence of moth damage Would benefit from a cleanSee additional images

English School, 19th c - Still Life with Pheasants and further Game and Finches, oil on canvas, 51 x 77cm, gilt composition frame Two patched repairs, the verso with associated areas of light over-paint/touching-in. Slight ripple to the canvas, so could benefit from being re-stretched. One or two small portions of blistering. Further light wear and dirt. The frame with some losses and repairs.

Two Royal Worcester pin trays, 1958 and circa, painted by Roberts or another, both signed, with an all-over still life of fruit, 90mm diam, black printed mark Good condition