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RICHARD AKERMAN (British b. 1942) Still Life of Bottles, Oranges and Dry Flowers, oil on board, signed lower right, framed, 39cm x 113cm 53cm x 128 including frame

N. BULTIAUW 20th Century Continental School Still Life Chrysanthemums In A Vase Oil on canvas Signed and dated 1941 lower right Framed Picture size 59 x 49cm Overall size 76 x 66cm

GEORGE STINTON. BRITISH 19TH CENTURY Still life of apples. Signed. Watercolour 8' x 11'

* GLEN SCOULLER RSW RGI DA (SCOTTISH b. 1950),BLUE STILL LIFEwatercolour on paper, signed, titled label versoimage size 16.5cm x 16.5cm, overall size 33cm x 33cm Framed and under glass.Label verso: Roger Billcliffe, Glasgow.Note: Glen Scouller is a contemporary Scottish artist, known for his vibrant and expressive landscapes and still lifes, which showcase his interest in bold colours and the movement of light. Scouller was born in Glasgow in 1950 and studied at Glasgow School of Art from 1968-73. As a student, he won the Royal Scottish Academy Painting Award and in 1973, was awarded the Post Graduate Study Award, the WO Hutcheson Prize for Drawing and Travelling Scholarship to Greece. In the following years, Scouller won more awards for his work, including the Lauder Award, Glasgow Art Club and Scottish Amicable Award, Royal Glasgow Institute of Fine Arts. He regularly exhibits at the Royal Scottish Academy, The Royal Glasgow Institute of Fine Arts and the Royal Scottish Society of Painters in Watercolour. In 1989, he was elected a member of the Royal Glasgow Institute of the Fine Arts, followed by the Royal Scottish Society of Painters in Watercolour in 1997.Since 1977, Scouller has had over 40 solo exhibitions across Scotland and internationally. His works are held by both public and private collections worldwide, including The Scottish Office in Edinburgh, De Beers and the First National Bank of South Africa.

* ARCHIE SUTTER WATT RSW SSA (SCOTTISH 1915 - 2005),YORKSHIRE CHURCHmixed media on paper, signedimage size 52cm x 71cm, overall size 78cm x 96cm Mounted, framed and under glass. Label verso: Royal Scottish Society of Painters in Water-Colours.Note: Archie Sutter Watt RSW was one of Dumfries & Galloway's best loved artists, known to many for his Galloway landscapes and still-life paintings. He lived and worked in his studio in Kirkgunzeon near Dalbeattie for over 55 years, before his death in 2005, at the age of 90.

* JOHN BULLOCH SOUTER (SCOTTISH 1890 - 1972),GRAN VIAwatercolour on paperimage size 24cm x 33cm, overall size 40cm x 49cm Mounted, framed and under glass. Label verso: The Late John Bulloch Souter Archive, Rendezvous Gallery, Aberdeen.Note: John Bulloch Souter, was born in Aberdeen and studied at Gray`s School of Art. After serving in the Royal Medical Corps during World War I, JBS became a highly successful and celebrated portrait painter. Sitters included Gladys Cooper, Ivor Novello, Fay Compton, entertainers and celebrities of the era, academics, military officers and society figures. He exhibited at The Redfern Gallery, the Fine Art Society, Royal Scottish Academy and the Royal Academy. During World War II he worked in the Censorship Department as a translator. He also restored paintings from The Royal Collection at Windsor Castle. In 1926 his painting "The Breakdown" caused an international media storm and it was eventually withdrawn from the Royal Academy. The original painting was destroyed by Souter but he repainted a copy from the original sketches in 1962 which he amusingly dated 1926 - 62 and which was sold in Edinburgh in 2018 for £60.000. Souter married Christian Grace Reid in February 1926 at St Paul's Parish Church, Hammersmith. The couple were Jazz enthusiasts and were also regular visitors to the Opera. London was, and is, one of the most vibrant cities in the world and the diversity of entertainment appealed to the young Aberdonian and his beautiful wife. After 26 years of married life in London, Jack (as he was known to his friends and family) and Christian moved back to Aberdeen (1952) when JBS inherited "Kinnoull" 19, Anderson Drive in the city, from his sister Anne. Souter was a remarkably talented artist who painted an extraordinarily diverse range of subject matter in a variety of styles and mediums. He painted one of the most controversial British pictures of the 20th century and in so doing, possibly inadvertently, highlighted prejudices virulent in the 1920s and still resonant and acutely "current" almost a century later.

SIMON LAURIE RSW RGI (SCOTTISH b. 1964),STILL LIFE COLLIOUREacrylic on board, signed, titled versoimage size 80cm x 85cm, overall size 90.5cm x 95cm Framed.Note: Simon Laurie is a contemporary Scottish landscape and still life artist, whose paintings are characterised by references to Scottish life and society, incorporating fish, boats, religious symbols and everyday items. These objects are arranged upon a rich textural ground created by the application of multiple layers of acrylic paint. He has worked with acrylic paint for almost 30 years, developing his own individual style and fundamental visual language. Laurie was born in Glasgow and studied at Glasgow School of Art from 1982 to 1988. He was elected a member of the Royal Scottish Society of Painters in Watercolours (RSW) in 1991 and the Royal Glasgow Institute (RGI) in 2000, where he served as convener for six years. He has had many solo shows, both in the UK and abroad, and has won many prestigious and major awards. His work is held in many public, private and corporate collections including Aberdeen Art Gallery, Contemporary Arts Society, London; Feren Art Gallery, Hull; Freshfields, London; Leicestershire Education Committee; Lillie Art Gallery, Milngavie; Nationwide Building Society, London; Royal Bank of Scotland; TSB Headquarters, London; Unilever PLC; William Teacher and Sons Ltd; Wyse Group; Walter Scott Investments Ltd, Edinburgh; Biggart Baillie; Aberdeen Asset Management; The Whisky Society, Edinburgh; Adam and Co Bank; Provident Financial; The Scottish Arts Club, Edinburgh.

* ETHEL WALKER (SCOTTISH b. 1941),LOCH CRERANmixed media on paper, signedimage size 38cm x 53cm, overall size 66cm x 79cm Mounted, framed and under glass. Exhibition label verso: Glasgow Society of Women Artists Exhibition June 1991.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from The Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

* MARY BATCHELOR (SCOTTISH 1944 - 2017),STILL LIFE WITH MINCE PIESpastel on paper, signedimage size 34cm x 44cm, overall size 71cm x 80cm Mounted, framed and under glass.

* HELEN M TURNER PAI PPAI (SCOTTISH b. 1937),REFLECTIONSoil on canvas, signed, titled label versoimage size 72cm x 76cm, overall size 85cm x 90cm Framed and under glass.Note: Helen Turner was born in Glasgow. When she left school she joined the design studios of James Templeton and attended Glasgow School of Art in the evenings from 1952 to 1960. There she studied drawing, still life and portraiture under Trevor Makinson and William Gallagher. Continuing her career with James Templeton and other companies, she became a documented designer in Aubusson and Beauvais, travelling extensively throughout the world. Helen's designs can be seen in the Waldorf Astoria, Turnberry Hotel, San Francisco Opera House, The New York Plaza, P & O Cruise Liners and many Casinos throughout the world. Eventually, she gave up her design work to become a full-time artist. Helen was elected President of the Paisley Art Institute from 2001 to 2004. She is also a member of the Glasgow Society of Women Artists and exhibits regularly in galleries throughout the UK. Helen won the East Linton Award in 1972 and 2004 and was commended in the Soroptomists' International Fine Art Award in 1992. In 2000 she became a Diplomat of the Paisley Art Institute [PAI]. Helen has work in the corporate collections of Robert Fleming Holdings (The Fleming Collection), Dunedin Fund Managers, Aberdeen Asset Management, the TSB, South Ayrshire Council, Paisley Museum and Art Galleries, Ramco Oil and Baillie & Gifford. Known private collectors include Lord Morton and Lord McLean.

* ETHEL WALKER (SCOTTISH b. 1941),ORANGE TULIPSmixed media on board, signed, titled and dated 1998 label verso image size 49cm x 49cm, overall size 70cm x 70cm Framed and under glass.Label verso: The Gatehouse Gallery, Glasgow.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

* ETHEL WALKER (SCOTTISH b. 1941),ALSTROEMERIA AND IMARIoil on board, signed, titled versoimage size 54cm x 60cm, overall size 73cm x 79cm Framed and under glass.Comment: an outstanding and highly detailed Ethel Walker still life. Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from The Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. In The Scottish Contemporary Art Auction of 12th September 2021 "The Silver Table" (lot 562), a mixed media by Ethel Walker sold for £2600 (hammer) and in our December 2021 auction "The Lace Cloth" achieved £3000 (hammer).

* JOHN G BOYD RP RGI (SCOTTISH 1940 - 2001),SHED, BARFED oil on canvas, signed, titled and dated 1973 versoimage size 61cm x 91cm, overall size 78cm x 108cm Framed and under glass. Note: John Boyd was born in Stonehaven, Kincardineshire in 1940. He studied at Gray's School of Art, Aberdeen (1958 - 1962) where he was taught by Robert Henderson Blyth. He briefly studied at Hospitalfield where he met John Byrne and Sandy Fraser, who was to become a lifelong friend. Boyd moved to Glasgow and from 1967 - 1988 he taught at Glasgow School of Art before turning to painting full time. His first solo show was held in Edinburgh in 1967, after which he exhibited regularly at the RA, the RSA, the RGI and RSPP. A major retrospective of his work was held in Glasgow, in 1994. Boyd won numerous awards and was elected a member of the Royal Glasgow Institute of Fine Arts in 1982 and a member of the Royal Society of Portrait Painters in 1989. His work is held in private collections owned by, among others, the Earl of Moray and Lord MacFarlane as well as numerous corporate collections including The Fleming Collection, Bank of Ireland, Murray Johnson and Arthur Anderson. Public collections include the Paisley Art Gallery, the People's Palace, Glasgow Museums and the Lillie Art Gallery, Milngavie. He was noted for his strongly coloured landscapes, portraits and still life's, mostly in oils, with his best work being produced in the last ten years of his life.

* IAN MASTIN (BRITISH b. 1949),STILL LIFE OF A BLOW TORCHoil on board, signed and dated 2004image size 30cm x 27cm, overall size 53cm x 49cm Mounted, framed and under glass.

Varer Ferenczy - Portrait of a girl three-quarter length wearing a pink shawl and white scarf, signed artist's proof, coloured etching, 5.75" x 4"; together with a further etching by the same artist entitled 'Jugs', still life of decorative jugs upon a table cloth; also various other pictures including black and white print after a pencil drawing depicting hunting caricatures, further coloured etching after G.D. Armour hunting caricature taken from a newspaper, coloured print, an old print depicting various breeds of deer, a painted-over photograph of a bearded gentleman, oval, contained within a late Victorian or Edwardian gilt plaster and wooden frame and two later coloured reproductions, watercolours by William Alfred Nicholls, various sizes (a collection)

Byron. [Hobhouse (John Cam)]/Broughton (The Right Hon. Lord), Contemporary Account of the Separation of Lord and Lady Byron; also, An Account of the Destruction of Lord Byron’s Memoirs, sole edition, London: Privately Printed/Printed by W. Clowes and Sons, 1870, 239pp, still unbound in 8s as issued, ex-lib and with some stamps, including the title-page, loosely preserved in a manila wrap inscribed: Presented by Mr D Durrant, The Old House, Bleasby, 8vo, [Wise II 105]. “One of the scarcest, as well as one of the most important, of the many volumes devoted to the life and affairs of Byron” (Wise, A Byron Library). An early source for the debate concerning the “mystery” of the Byrons’ separation (attributed, amongst other things, to incest and sodomy), and the infamous destruction, by Hobhouse, of Byron’s memoirs immediately following the poet’s death.

A selection of framed pictures including a modern oil on board still life with bottle, glass and fruit on a table, two Henry Alken prints, etc.

A gilt framed watercolour still life with birds perching on classical vases and a tazza - pencil to the mount 'A Study'

Mary Wilson: a painted wood framed oil on board still life with flowers in a glass vase with deep impasto - signed - sold with another similar by M. Smith on canvas

A pair of Flight Barr & Barr Worcester pot pourri vases, each well painted with a conchological still life of sea shells, pierced covers with sphinx finials, above apple green shoulders, triform bases with gilt dolphin supports, puce London House Coventry Street marks, c.1820

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

A Lynton Porcelain Company campana vase, painted by Stefan Nowacki, signed, with a still life of ripe fruit, picked out in gilt, 22cm high, printed mark and monogram

English School (19th century)Still Life, Ripe Fruit and a Glass of Wineoil on canvas, 35.5cm x 45cm

English School (early 20th century)Still Life, Booksoil on canvas, 54cm x 64.5cm

F Dvinslaghe (18th century)Still Life, Kitchen with Pans, Chicken and Hanging Meatsigned, initialled FD, oil on panel, 34cm x 25cm

G BoyeA pair, Still Life, Vases of Flowerssigned, oil on canvas, circular, 19cm diam

Gerald Cooper (1898 - 1975)Still Life, Summer Flowers and Trailing Leavessigned, dated 1945, oil on canvas, 60cm x 50cm

John Denahy (1922 - 1999)Still Life, Flowers in a Juglabel to verso, oil on canvas, 22.5cm x 18cm

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

S**v**Still Life, Flowers in a Vaseindistinctly signed, oil on board, 33cm x 28.5cm

MARGUERITE DEILMAN; oil on canvas, still life flowers in a vase beside a bowl of grapes, signed, 79 x 60cm, framed.

M. CAUCITUIS; oil on canvas, still life, signed, 34 x 48cm, framed, together with a further oil on canvas of a landscape scene, indistinctly signed, watercolour of a coastal scene, indistinctly signed, 27 x 37cm, and a print of Venice after Canaletto.

Four pictures, 2 still life, 1 horse racing and 1 hunting

A GILT FRAMED OIL ON BOARD STILL LIFE PAINTED BY A MEMBER OF THE BUDAPEST ACADEMY BEARING TO THE LOWER RIGHT 50 CM X 40 CM

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

Joan Hodes (b. 1925), Nude With Still Life, oil on board, 1993, with Boundary Gallery label verso. H.44 W.44cm.

V Baudry (Contemporary), Three Still Life Studies of Books, watercolour, signed. H.51 W.61cm. (each)

A mixed lot of continental "800" silver and silver plated items to include an Italian small dish and matching coaster, silver napkin ring, and a wooden and silver clad cigarette box, along with Wedgwood jasper ware and a signed mid-century oil still life painting of a vase of flower, signed indistinctly, weight of dishes and napkin ring 176.2g, miscellaneous glassware on hexagonal bases, mixed 20th century household items to include coffee cans in white metal holders with saucers and matching sugar bowl, an onyx centre piece with faux fruit and a vintage Wedgwood Hatfield dinner, coffee and tea serviceLocation: BWL/LAB

Early 20th century still life oil painting of fruit on a table, signed indistinctly and dated 1909, to lower left corner, 93cm x 32cm, gilt frameLocation:

The G.C.I.E. set of insignia attributed to Charles, Lord Hardinge of Penshurst, sometime Viceroy of India and Grand Master of the Order The Most Eminent Order of the Indian Empire, G.C.I.E., Knight Grand Commander’s set of insignia, comprising sash Badge, 87mm including crown suspension x 60mm, gold and enamel; breast Star, 91mm, silver, silver-gilt, gold and enamel, with gold retaining pin, complete with full sash riband, some very minor enamel damage to badge, otherwise extremely fine and rare (2) £6,000-£8,000 --- Provenance: Richard Magor Collection, Dix Noonan Webb, July 2003 (when sold alongside the recipient’s other honours and awards) Lord Hardinge was created G.C.I.E. and Grand Master of the Order upon his appointment as Viceroy of India in 1910. The Right Honourable Sir Charles Hardinge, 1st Baron Hardinge of Penshurst, K.G., G.C.B., G.C.S.I., G.C.M.G., G.C.I.E., G.C.V.O., I.S.O., Privy Counsellor, (1858-1944), was the younger son of the 2nd Viscount Hardinge, and was educated at Harrow and Trinity College, Cambridge. He entered the Foreign Office in 1880 and rose rapidly to become British Ambassador at St Petersburg, 1904-06, and, as Permanent Under-Secretary of State for Foreign Affairs, head of the Foreign Office. One of the most brilliant diplomatists of his time and close friend and trusted adviser of Edward VII, he was raised to the peerage as 1st Baron Hardinge of Penshurst in 1910, when, forsaking the courts and chanceries of Europe which he knew so well, he fulfilled his lifetime’s ambition to follow in the steps of his grandfather, the Peninsular veteran who was Governor-General of India at the time of the First Sikh War, by becoming Viceroy of India. Hardinge arrived in India in November 1910, ‘full of enthusiasm for his great undertaking; a supremely self-confident figure, tall, spare, upright, with a high forehead and trim moustache, looking younger than his fifty-two years’, at his side a Vicereine who was to acquire a reputation for being every bit as clever as her husband. Hardinge’s first challenge was to reunite Bengal following partition in 1905 which had been the cause of terrorism and assassination attempts during his predecessor’s time. The unification of Bengal to form a Presidency under a Calcutta-based Governor sent out from home gave rise to the momentous decision to move the Imperial capital from Calcutta to Delhi. The move which was to become the principal legacy of Hardinge’s reign was announced by the King-Emperor, George V, at the Delhi Durbar in December 1911 – this third and last of the great Delhi gatherings being by far the most spectacular costing £660,000 against Curzon’s 1903 expenditure of £180,000. In March 1912 the Hardinges vacated Government House in Calcutta to make way for the new Governor of Bengal, and took up residence in Delhi, occupying a large bungalow which was to serve as the winter residence of the Viceroys for the next seventeen years until Edwin Lutyens’ grand design for the Viceroy’s House, New Delhi, was finally completed. Hardinge had strong views on style yet insisted on a woefully inadequate construction budget and a demand for speed that was far from conducive to producing timeless architecture in the grand manner. Indeed Hardinge’s role as patron to Lutyens has been described as ‘one of the classic conflicts of architectural history, comparable with that of Michelangelo and Pope Julius II’. Hardinge’s persistent urging was important however in ensuring that tangible progress was made before outbreak of war, which otherwise would probably have caused plans for the new Imperial capital and a world-class palace to be dropped. In December 1912 Lord and Lady Hardinge made their official entry into Delhi riding in the silver State howdah at the head of a long elephant procession of chiefs and high officials. As they passed through the crowded streets of the old city Hardinge remarked to his wife that something terrible was going to happen. A few moments later his premonition became reality when an anarchist threw a nail bomb at them from an upper storey window causing an explosion which could be heard up to six miles away. Initially it seemed that no harm had been done, but as Hardinge retrieved his topi which was passed up on the end of a lance, Lady Hardinge glanced round to see that the attendant who held the umbrella was dead, ‘his shattered body entangled in the ropes of the howdah’. She then noticed a rent in the back of her husband’s tunic and blood flowing freely from it. In the next instant Hardinge fell forward unconscious. With the help of aides, Lady Hardinge managed to get her husband down from the elephant, which was too terrified to kneel, by means of a hastily assembled pile of packing cases. As Hardinge lay on the pavement with a burst ear-drum among his injuries, he briefly came to and ordered the procession to proceed as though nothing had happened with his Finance Member standing in for him. A car whisked the Viceroy away to Viceregal Lodge, but the servants had all gone to watch the procession and it was left to Hardinge’s twelve year old daughter, Diamond, to make up a bed. A succession of operations to remove nails, screws, and gramophone needles with which the bomb was packed ensued. More serious than his physical injuries however was the psychological one which appeared to make him evermore conciliatory in his dealings with Indians. Furthermore he was observed to have lost much of his self-confidence. He was personally dismayed that terrorism was still a factor in Indian life and was accused of playing to the ‘Indian gallery’. In 1913 he annoyed subordinates and local officials in the United Provinces, by going over their heads and making an unprecedented appearance in Cawnpore to settle a dispute over a mosque which had caused serious riots and was inflaming Muslim opinion across India. He addressed the entire Muslim population of the city and having reproached them severely for their disobedience, proceeded to win the crowd by ordering the release of more than a hundred rioters from prison. Needless to say his dealings with Lutyens became yet more fractious. In 1914 he was hit by a series of personal tragedies. In the spring Lady Hardinge died unexpectedly after an operation carried out in England – a blow by all accounts far greater than the bomb. Later in the year his elder son (Lieut., D.S.O., 15th Hussars) was mortally wounded in France. Then the Viceroy lost three of his A.D.C.s to the war, all three being killed within a few days of each other. Diamond, on whom he became evermore reliant, died aged twenty-six in 1927. With the outbreak of war there was much to distract him from grief. He at once sent large numbers of Indian troops to Europe to help slow down the first German advance on Paris, and reduced the British garrison in India to what was regarded by some as a dangerously low-level yet kept order satisfactorily. He was also responsible for organizing the transport, supplies and medical services for the Mesopotamian campaign under Sir Beauchamp Duff whose appointment as C-in-C he had strongly supported in 1914. Whilst he relied too heavily on Duff (who eventually committed suicide) and can thus be blamed in some part for the Mesopotamian nightmare, he did go to Basra in person as soon as he realized how bad things were to try and improve the conditions of the troops. A post-war commission of inquiry absolved him of all blame. Owing to the war his Viceroyalty was extended for six months beyond the usual term. He returned home and became head of the Foreign Office once more before attaining the absolute pinnacle of the Dipolmatic Service, the Paris Embassy, 1920-22. In 1931...

A large framed still life print 81x109cm

PATRICIA MORRISON Still life, signed, oil on canvas, 55 x 45cm Available upon request

To comprise Old Spinning Wheel (2); Old Etching Press (2); Still Life with Old Silver Teapot; Cheers; Hair Plaiting Version Three; Woman Before a Mirror; The Priest and a Woman Possessed; Sacrifice to the Earth Goddess; Sacrifice to the Malignant Spirit Eleven, each signed and dated (1971-1977), each titled, numbered from editions of 50 or Artist's Proofs Each 45 x 65cm approx. or smaller. ** Generally at least satisfactory; some foxing, pale staining and/or handling marks.

William Scott - 'Blue Still Life', lithograph in colours on wove paper, printed by Curwen Studio, London, published for PSA Supplies Division by Editions Alecto Ltd., London 1975, sheet size 75.5cm x 96.5cm.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.

Arnaud - Still Life of Flowers in a Blue Vase, pastel, signed, 34cm x 39cm, within a painted 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.

William Scott - 'Blue Still Life', lithograph in colours on wove paper, printed by Curwen Studio, London, published for PSA Supplies Division by Editions Alecto Ltd., London 1975, sheet size 75.5cm x 96.5cm.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.

Edith Isabel Barrow - 'Still Life, Violets', 19th century watercolour, signed recto, titled label verso, 22.5cm x 36.5cm, within a gilt 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.

Henri Joseph Pauwels - Still Life with Flowers, Fruit and Pheasant, 20th century oil on board, signed, 58.5cm x 98.5cm, within a painted wood 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.

H. Streeter - Cubist Study of a Still Life with Fruit and Daisies, 20th century oil on board, signed recto, partial label verso, 50cm x 72cm, within a painted wood frame, together with a similar oil by the same hand.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.

British school, still life study vase of flowers, oils on canvas. 49x40cm approx. Gilt frame. (B.P. 21% + VAT) One small patched up hole on the vase, otherwise appears ok. 

Furnishing pictures, including: After Van Gogh 'Sunflowers' coloured print, watercolour still life study of fruit and a coloured print fishing smacks in the moonlight. (3) (B.P. 21% + VAT)

WATERCOLOUR STILL LIFE OF APPLES, GRAPES, GOLD TANKARD, BOOK ETC, INDISTINCTLY INSCRIBED TO REVERSE AND DATED 1910 11 X 13”

FOLIO CONTAINING A GOOD WATERCOLOUR VIEW OF LAKE LUGANO AND DATED 1872 WITH NOTES TO REVERSE TOGETHER WITH A WATERCOLOUR OF MOTHER AND CHILD WALKING ON THE COAST AND FOUR OTHER WATERCOLOURS OF LANDSCAPES AND A STILL LIFE. ALSO OIL PAINTING ON BOARD, HEAD STUDY OF A SIAMESE CAT, SIGNED INDISTINCTLY, LARGEST 17” X 13” [7]

A GILT FRAMED DUTCH STYLE STILL LIFE OIL PAINTING, SIGNED TO LOWER RIGHT CORNER, 57 X 46CM

A STILL LIFE OIL ON CANVAS OF A VASE OF FLOWERS, SIGNED J COOPER 61CM X 51CM

DAVID EVERS (BRITISH, 20TH/21ST CENTURY) (2)Still Life with Poinsettiasigned 'D Evers' (lower right)oil on canvas61 x 51cmARRExhibitedLondon, Royal Academy Summer Exhibition, 1994Together with another oil on canvas by the same hand of Yellow tulips in a silver bowl, signed and signed and dated '99' (verso), 41 x 51cm(2)ARRProvenance: The estate of Paul Manousso (1930-2021), an artist's home on Brompton Square, Knightsbridge. 

WENDY YEO (HONG KONG, B. 1937)Still life of apples, a pair and other items on a tableinscribed with artist's name and with The Slade School label (verso)oil on canvas71 x 91.5cm

FRANZ DECKWITZ (1934-1994)Still life of flowers in a vase and other itemssigned and dated 'franz deckwitz '65 n.y.c' (lower right) and inscribed (verso)oil on board38.5 x 33.5cmARRProvenancePortal Gallery, Grafton Street, London;Private collection, UK

FRANCIS GOWER (BRITISH, 1905-1995)Still life of jugs and other itemssigned 'F. Gower' (lower right), inscribed with artist's name (to canvas return) and with inscribed label (to back of frame)oil on canvas40.5 x 51cmARRCondition reportOriginal canvas.  Small frame abrasion, lower right corner, traces of slightly discoloured varnish to the table cloth, lower left.  Otherwise good overall condition with no sign of restoration or retouching.

*** BUTLER (20TH CENTURY)Still life of flowers in a jug and lemonssigned 'BUTLER' (lower right)oil on canvas30 x 45.5cm