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Will Wilson: oil on canvas, still life "Orange and Lemon", 11 1/2" x 9 1/4", in ornate gilt frame (hole to picture)

Patty Martin: oil on board, still life of flowers in a vase "Geraniums", 14 1/4" x 10 1/2", in painted strip frame

Mixed pictures to include a large abstract oil painting, still life of roses, L. Coleman oil depicting a harbour scene and othersLocation:

George J Bailey - two still life oil paintings, to include one depicting a violin and books, 60 x 50 framed, the other 55 x 45, framed

WILLEM VAN LEEN (DUTCH 1753-1823)STILL LIFE WITH ROSES, TULIPS, CHRYSANTHEMUMS AND OTHER FLOWERS IN A CLASSICAL URN, WITH FRUIT AND A BIRD'S NEST IN A NICHEOil on canvasSigned (lower right)108 x 74cm (42½ x 29 in.)Provenance:Hazlitt, Gooden and Fox Ltd., London

ALFRED STANNARD (BRITISH 1806-1889)SEA SHORE, MORNINGOil on canvasSigned and indistinctly dated '18**' (lower left); inscribed (on a label on the stretcher) 'No. 3 Sea Shore'38.6 x 64.8cm (15 x 25½ in.)Provenance:Private collection, UK, then by descent Exhibited: Possibly, Exhibition of the Norfolk and Norwich Association for the Promotion of the Fine Arts, 1849, no.19Literature: Harold AE Day, East Anglian Painters, Vol. III, Eastbourne Fine Art, Sussex, 1969, p.186, record of the aboveSea shore, morning is a beautifully calm panoramic seascape of subtle and exquisite colouring, with more than half the canvas devoted to the detailed study of a cloud-scudded sky. Though the scene is still and with little incident, the lighting is deftly dramatic from the layering of dark clouds on the horizon, to the foreground cast in unexpected shadow. Here three highly finished fisherman check lobster pots by the broken mast of a ship, while the middle-ground charts their colleagues progress from ship to shore. Stannard's serene surface is completed with intense precision, which William Frederick Dickes describes as 'an amount of Dutch finish quite unusual in the true Norwich School.' (The Norwich School of Painting, Jarrold & Sons, London, p.534)Writing of the celebrated family and their maritime views, Peter Kennedy Scott explains their continued importance: 'The Stannard family, who often painted ships at sea, used the sands for their subjects too. Delightful paintings of fishermen, with their boats and haul, provide us with a lasting record of the life and work these men endured. In fact, much of the Norwich School landscape painting is memorable for its historic portrayal of the life and times of this part of eastern England and the toils of the past.' (A Romantic Look at the Norwich School Landscapes by a Handful of Great Little Masters, Acer Art Publishing, 1998, p.36)Condition Report: The canvas is relined, paint layers appear stable. UV reveals scattered retouching and a restored tear above the figures on the left as well as along the edges. Stretcher marks slightly visible and fine craquelure throughout. Tape along outer edges. Condition Report Disclaimer

MRS. PHIPPS (BRITISH FL. CIRCA 1826)A VIEW OF BUCKINGHAM HOUSE, LONDONOil on boardInscribed (on a label on the reverse): 'By Mrs Phipps / 25' and 'For my dear / friend Lucy / Mrs. Holbech / June 1826' (on a second label)22.5 x 30.5cm (8¾ x 12 in.)In its original carved and gilded hollow frameProvenance:Given by the artist in June 1826 to Lucy (c.1781-1835), wife of William Holbech, Farnborough Hall, Warwickshire;Thence by descent;Sale, Sotheby's London, May 2, 2018, lot 83This charming painting, made in the reign of George IV, shows Buckingham House, the private residence of the Royal Family, before John Nash's renovations of 1825-30 transformed it into Buckingham Palace. The main house remains the core of today's Buckingham Palace. Mrs Phipps's view conjures up a cheerful scene with fashionable strollers in St James's Park and children playing with a dog. A troop of Life Guards, the sovereign's personal bodyguard, rides past the house on the famous 'Cavalry black' horses which are still used by the regiment today. To the left a Guards regiment is drawn up on the parade ground. Buckingham House was the second house on the spot, designed in 1703 by William Talman and Captain William Wynde for John Sheffield (1648-1721), who was created 1st Duke of Buckingham the same year. Buckingham was a favourite of James II, whose illegitimate daughter Catherine he married, and of Queen Anne. Mrs Phipps depicts the warm, red brick building with Corinthian stone pilasters. Curved galleries lead to the southern pavilion, which housed the servants, and the northern pavilion, which contained the kitchen and laundry. In 1762 George III acquired Buckingham House as a private residence for his wife Queen Charlotte and their children. St James's Palace remained the official residence of the Court, while Buckingham House became known as The Queen's House. The interiors of the cosy family home were remodelled by Sir William Chambers in a delicate, neoclassical style, with ceilings designed by Robert Adam and painted by Giovanni Battista Cipriani. In keeping with George IV's robust ideas of majesty, John Nash would turn a classical house into a flamboyant, neoclassical palace by adding a temple-like porte-cochère onto the central block and making new, much larger wings. Further alterations were made to Buckingham Palace by Edward Blore, until the east front in 1913 was given its present Portland stone façade designed by Sir Aston Webb, suitably grand for the monarchs upon whose empire the sun never set.

CONTINENTAL SCHOOL (19TH CENTURY)A STILL LIFE OF GAME AND FISH ON A LEDGE BY A WINDOWOil on canvasSigned with initials ER and dated 1850 (lower right)62 x 75cm (24¼ x 29½ in.)

JOHANN WILHELM PREYER (GERMAN 1803-1889)STILL LIFE WITH GRAPES, PEACHES, APRICOT, HAZLENUTS, A CHAMPAGNE FLUTE AND A FLY ON A DRAPED LEDGEOil on canvasSigned and dated 1865 (lower right)36.5 x 33cm (14¼ x 12 in.)Preyer studied art at the Düsseldorf Art Academy with Peter von Cornelius and Wilhelm von Schadow and would become one of the earliest of the group now known as the Düsseldorf school of painting. Between 1835 and 1843 he continued his studies travelling through the Netherlands, Munich, Northern Italy, Switzerland and Tirol. Inspired by the work of Rachel Ruysch (1664-1750) and the tradition of other seventeenth century still life painters such as Kalf, Claesz. and Heda, he turned to the minute and carefully detailed painting of flowers and fruit. Today he is considered to be one of best artists of the genre in the 19th century and his works are widely collected from Germany to the United States.Condition Report: The canvas is unlined but the paint layers appear stable. A few very fine lines of surface cracking which is hardly visible to the naked eye. Inspection under UV light shows some retouching of these areas, as well as some minor other retouches around the edges of the work. Condition Report Disclaimer

JACQUES-EMILE BLANCHE (FRENCH 1861-1942)STILL LIFE WITH A LOBSTER ON A SILVER PLATTEROil on canvasSigned and inscribed `à Me. Langweil' 52.5 x 75.5cm (20½ x 29½ in.)UnframedIncluded in the online catalogue raisonné by Jane Roberts and Muriel Molines, no. RM 1305, Nature morte à langouste sur un plat d'argentProvenance:Sale, Bonhams, 18 March 2014, lot 136An eminent dealer in Oriental antiques, Madame Florine Langweil (1861-1958), born Florine Ebstein, came to Paris in 1881 to work for a cousin who ran a pastry shop in the rue Montholon. There she met and married the affluent Charles Langweil (1843-1920), a middle-aged Austrian who proceeded to abandon her in 1894 without resources and with two small children to bring up. Madame Langweil, with no formal training in art, threw herself into the highly specialized field of Oriental art, in which she became a great expert and ran a very successful business. In her gallery at 26 place Saint-Georges, which she opened in 1903, she built up a vast stock of objects of which she was justifiably proud and which attracted customers from all over the world. In 1905, her eldest daughter Berthe (1886-1971), became a pupil of Blanche in Auteuil. Condition Report: Unframed. Relined. Light surface dirt throughout. Framing tape to the extreme edges. Some minor equally spaced out losses along the lower and upper edges, possibly as a result of a historic frame. Light rubbing to the lower right corner. Evidence of retouching in natural light to the extreme left and right edges together with evidence of old pin holes. Inspection under UV reveals light scattered retouching, most notable along a horizontal line running 1/8 from the upper edge through the lobster's tail. Condition Report Disclaimer

GOTTFRIED LIBALT (GERMAN 1610-1673)PORTRAIT OF A MAN, AGED 60, HOLDING A BOOKOil on canvasInscribed and dated 'Aetatis 60. Ao 1648' (upper left) and signed and dated 'Libalt. Fec. 1648'80 x 61cm (31¼ x 24 in.)Provenance:C. Newton-Robinson, Esq.The Peto FamilySir Geoffrey Peto and thence by descentLittle is known about the artist, the contours of Gottfried Libalt's life are still largely unknown. Presumably born in Hamburg, his known oeuvre largely consists of elaborate hunting and kitchen still lives. Only one other portrait by his hand is known to exist, the remarkable picture Youth with Monkey (Portrait of Alexander Ostrogosky), from the collection of Podhorce Castle in East Galicia, which today belongs to the Lviv Art Gallery and is displayed at Olesko Castle. This portrait was most likely commissioned by the mother of the sitter, Katharina Sobieska, sister of Jan III Sobieski (1629-1696), the future Polish king (from 1674). Condition Report: Lined and cleaned. There is a small spot of paint loss (approx. 3mm) to the lower right. Light craquelure throughout. Inspection under UV reveals patches of a green cloudy varnish and some light scattered retouching throughout, slight more extensive retouching to the right edge.Condition Report Disclaimer

JAN VAN DER VAART (DUTCH 1653-1727)PORTRAIT OF A YOUNG BOY (PROBABLY THE HON. LAURENCE SHIRLEY), C. 1696Oil on canvas127 x 101.6cm (50 x 40 in.)Provenance:(Probably) 1st Earl of Ferrers (thence by descent) (Probably) Cheatle Auction, Staunton Harold Hall, 17 - 18 June 1834 (lot 48)Private Collection, USAJan van der Vaart was born in Haarlem in 1653 where he trained under the local artist Thomas Wyck. By 1674 he had moved to England and was working as a painter of still-life pictures and small landscapes with figures, very much in the tradition of his Dutch training. It was at this time that van der Vaart painted one of his most celebrated works, the Trompe l'oeil violin and bow hanging on a door, in the Devonshire Collection at Chatsworth. From about 1685, van der Vaart was painting draperies for Willem Wissing, the finest example of their collaboration is the portrait of Theresa Stuart, Duchess of Richmond and Lennox (National Portrait Gallery, London). After Wissing's death in 1687, van der Vaart continued his workshop and occasionally collaborated with the German artist Johann Kerseboom.From the early 1690s, van der Vaart worked almost exclusively for Robert Shirley, 1st Earl Ferrers, for whom he painted multiple portraits, including an impressive group portrait of the Earl and Countess with their four eldest children. It is almost certainly whilst van der Vaart was at Staunton Harold, the seat of the 1st Earl Ferrers, that this portrait was painted. It is most likely a depicting of the young Hon. Laurence Shirley in the guise of Cupid painted at the age of 2 or 3. Robert was married twice and had a total of 27 children, although Laurence did not inherit his father's titles, his son, who was also named Laurence, went on to become the 4th Earl Ferrers. The 4th Earl was a particularly violent man and after beating his rent collector Johnson, he shot him in the chest, resulting in his trial and then execution for murder. He was the last Peer in Britain to be hanged after a trial. Condition Report: The canvas has been relined and fine surface cracking is visible but the paint layer appears to be stable. Inspection under UV reveals there are some scattered areas of retouching which includes some fine lines on the sitters body and in broader areas in the background particularly to the right of the sitters head. There are other scattered areas of restoration, but they are all well executed and visible to the naked eye. It has been cleaned and re-varnished. Condition Report Disclaimer

ELIAS VAN DEN BROECK (DUTCH 1650-1708)A POPPY, TULIP, CHRYSANTHEMUM, MORNING GLORY, ROSES AND OTHER FLOWERS IN A VASE, ON A STONE LEDGEOil on canvas Signed (lower centre)78.2 x 64.2cm (30¾ x 25¼ in.)Provenance:Douwes, Amsterdam, where acquired in 1963 byMrs. Maria van EsSale, Christie's, Amsterdam, June 23 2015, lot 43Private collection, Blaisdon Hall, GloucestershireFred Meijer of the RKD, The Hague has dated the present still life to the late period of Van den Broeck's career.Elias van den Broeck was born in Antwerp but soon moved to Amsterdam to become an apprentice of Cornelis Kick. After training in Amsterdam for four years, he became a pupil of Jan Davidsz. De Heem in Utrecht in 1669, one of the greatest Dutch still life painters of his time. Van den Broeck is recorded back in Antwerp in 1673, where he became master in the Guild of St. Luke and where he married in 1677 and had three children. He would return to Amsterdam in 1685 and remained there until his death in 1708. Van den Broeck's oeuvre is undoubtedly influenced by that of De Heem. Both of their still lives, whether of flowers or forest floors, are particularly celebrated for their meticulous attention to detail. This work similarly combines a brilliance and harmony of colour with an accurate rending of the subject matter, be it the flowers in all their variety, the snail on the left, or even the smallest drops of water. In his artists biography, De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718), Arnold Houbraken mentions that Van den Broeck even kept a garden outside his house in Amsterdam purely for his studio needs. Van den Broeck's works are widely collected and part of renowned museum collections such as the Rijksmuseum, Amsterdam and Boijmans- Van Beuningen, Rotterdam. Condition Report: The canvas has been relined. Fine surface cracking is visible across the picture but the paint layer appears to be stable. Inspection under UV reveals scattered spots of restoration, most appears to be in the darker background areas. Old varnish is also visible. It has been partially cleaned and re-varnished.Condition Report Disclaimer

EMILE VERNON (FRENCH 1872-1919)STILL LIFE OF ROSES IN A GLASS VASE ON A STONE LEDGEOil on canvasSigned and dated `1900' (lower right)52 x 71cm (20¼ x 27¾ in.)Provenance:Private collection, Blaisdon Hall, GloucestershireCondition Report: The canvas has been relined and is on a later stretcher, which is providing good support. The paint layers appear stable. Areas of craquelure mainly concentrated in the lower half of the canvas. Visible stretcher marks. UV reveals scattered retouching as well as two larger restorations to the right of the glass vase and below the pink roses on the right. Condition Report Disclaimer

Framed Art Pencil Drawing Still Life Of A Bowl Of Fruit Signed In A Glazed Panel Wood Frame 50 x 40cm

Gillian Allard Framed Print Still Life Solway Firth Signed Verso In A Modern White Wood Glazed Frame 48 x 49cm Gillian Allard (British B.1966) Lives And Works As A Photographic Artist And Teacher In Suffolk. In 2017 She Entered The Sky Arts, Master Of Photography Television Competition Based In Rome, Italy. In An Eight-Week Process Of Elimination, Gillian And The Other Contestants Worked Hard To Hold Their Place. Gillian Reached The Final And Was Chosen By The Judges As The Unanimous Winner Of That Years Contest. An Artist And Lecturer Employing An Innovative Method Of Using Light-Sensitive Photographic Emulsion To Print Images Onto Natural Surfaces, The Result Being A Lifelike Sculpture. Image And Material Are Chosen To Create A Living Photographic Sculpture Which, Embedded In Its Natural Environment, Acknowledges The Fact That Over The Months And Years, The Work Will Be Returned To The Nature That It Celebrates. She Has Held Major Exhibitions Of Her Work At Suffolk One And Christchurch Mansion, Ipswich; Howard House Hotel, Wiltshire; Special Photographer's Company, London And The Urban Picnic Gallery, Saffron Walden, Essex.

Framed Art Helen Samuels Still Life Oil On Canvas In The 17th Century Dutch Vanitas Style Depicting A Glass And Silver Vase, Mirrors Within An Interior Mounted In A Gold Profile Wood Frame 54 x 54cm My Current Painting Practice Centres On The Representation Of Objects And Is Inspired By The History Of Still Life Painting – In Particular, 17th Century Dutch Vanitas Paintings, A Genre Which Employed Objects As A Kind Of Commentary On Contemporary Moral And Social Concerns, As Well As Exploiting Their Aesthetic Potential. I Am Interested In The Psychological And Symbolic Impact Of Objects And How We Use And Arrange Them In Ways Which Create Suggestive Narratives. My Approach To Composition Is To Photograph Objects Gathered In Pre-Existing Display Settings Such As Museums And Shop Windows, In Other Words ‘Readymade’ Still Life Groupings, From Which I Can Isolate An Image Which Will Often Incorporate Incidental Reflections And Chance Juxtapositions Of Objects. In This Way, Although The Paintings Are Fully Representational, The Incidental Surface Qualities Introduce A Degree Of Abstraction And Visual Ambiguity. It Is Important To Me That The Images Have The Feel Of Something That Is Part Of A Wider Context; That This Image Forms Part Of An Infinite Series. My Particular Take On Vanitas Is To Memorialise The Fleeting Aesthetic Of Temporary Displays In Which The Objects Depicted Are A Kind Of Vernacular Of Consumerism, Tying The Image To A Specific Time And Place. In A Visually Saturated Culture, The ‘Stillness’ Of Still Life Is The Essential Quality That I Find Most Compelling And That I Wish To Convey In My Work.

A Set Of 3 Framed Signed Wall Art By Richard Hoare (1) Still Life Shaftesbury Limited Edition 2/100 (2) Still Life Par Jan Limited Edition Of 9/100 (3) Still Life Loberoy 2011 Mounted In White Profiled Glazed Frame 48 x 44cm Richard Hoare (British B.1963) Is A Contemporary Landscape Painter. The Inspiration For His Work Goes Back To Some Of His Earliest Memories Of The Forests Around His Father’s Farm In East Anglia. This Was Magnified By His Experiences Walking The Pilgrim Routes Of England, France And Spain, Drawing And Recording The All The Way.

A 20th century still life of flowers, after Hans Bollongier, oil. on board, 31cm x 22cm

A 20th century still life of flowers, oil on canvas, bearing signature lower left A L Grace, 74cm x 62cm

Two coloured Prints and an Oil on board. Still life.

Unsigned still life of fruit and glass vase on a cloth draped over a table.

After Jeremy Barlow (1945-2020)  Artists proof onto Canvas Still life Study of " White Roses - Paris", 32 x 32cm in good condition, .

A still life painting of flowers signed bottom left

After S.Felts poppy still life in wooden frame 97x73

Neville Fleetwood (b. 1932), Still life of narcissus in a green vase, oil on board, signed, 60cm x 50cm

Modern School, Still life of fruits in a basket on a ledge, after the Dutch Old Masters, oil on board, 40cm x 30cm, presented in a moulded gilt frame

Continental School (20th century)A still life of vegetables 41.5 x 37cm (16 5/16 x 14 9/16in).Together with a further still life of three embossed and painted fish; and another of pomegranates on a plate (3)For further information on this lot please visit Bonhams.com

Ben Nicholson O.M. (British, 1894-1982)Still Life in Blue, 1968 Signed and dated in pencilEtching in coloursPlate 26.5 x 12.5cm (10 7/16 x 4 15/16in).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

F PrichardStill life, a pairEach signed 'F Prichard' (lower right) Oil on board 13.5 x 17.9 cm. (51/4 x 7 in.) each(2)For further information on this lot please visit Bonhams.com

British School (early 20th century) Still life with pears, ale and pewter jug, monogrammed AD and dated 1927, oil on board, 44cm x 36cm. MB COLLECTED 6/1/22 K8

‡Mary Fedden OBE, RA, RWA (1915-2012) Still life with fruit in a bowl and butterflies in a landscape Signed and dated Fedden 1987 (lower left) Pencil 56 x 76cm Provenance: Bonhams, London, Modern Pictures and Illustrations, 22 May 2007, lot 224

‡William Scott RA (1913-1989) Still Life Green Blue Theme 'H C' 5 Signed and dated W. SCOTT 74 (upper right to recto), and inscribed 'H C' 5/This original signed gouche [sic] /is from the limited edition of 55 copies of/William Scott: Drawings, 1975 (to verso) Gouache 21.9 x 26.9cm Unframed This work is recorded in the William Scott Archive as number 2360. Together with Lou Klepac (ed.), William Scott: Drawings (David Anderson, New York, 1975), one of five Hors Commerce copies; inscribed 'H C' 5/To Ron/William Jan 1975 (to colophon) (2) Provenance: Given by the artist to Ron Costley; And by family descent The picture is signed and dated 1974. There is an inscription on the verso, written in William Scott's hand: 'H C 5'. The work is one of fifty-five original gouaches executed to accompany specially-designated copies of the book Lou Klepac (ed.), William Scott: Drawings (David Anderson, New York, 1975). These copies of the book, and the corresponding gouaches, were marked 'l/L' to 'L/L', and five marked 'H C'. Ron Costley, whom William Scott thanks in the acknowledgments, designed the book for Shenval Press.

‡Anne Redpath OBE, ARA (Scottish 1895-1965) Still life with fruit Signed Anne Redpath (in pencil, lower right) and numbered 75/75 (in pencil, lower left) Lithograph 28.3 x 46.5cm (image)

‡Dame Elizabeth Blackadder DBE, RA, RSA (Scottish 1931-2021) Still life with sweets Signed and dated E V BLACKADDER 1968 (lower right) Oil and pencil on canvas 35.5 x 46cm Provenance: Lyon & Turnbull, Edinburgh, 31 May 2012, lot 152

‡Fred Dubery (1926-2011) Still life with a bouquet of flowers, a bottle of oil and jugs on a windowsill Signed Fred Dubery (lower right) Oil on canvasboard 28.7 x 38.8cm Provenance: Alpine Gallery, London, June 1988; The Collection of Bob and Elisabeth Boas

‡Michael Rothenstein RA (1908-1993) Still life with a bowl of fruit Signed and dated Michael/Rothenstein/1987 (upper right) Watercolour and charcoal 75 x 56cm Provenance: The Collection of Bob and Elisabeth Boas Exhibited: London, New Grafton Gallery, Smaller Paintings for Christmas and the New Year, December 1989

Sophie de Schomberg Szymberska (Polish 1884-1945) Still life with sunflowers in a jug Signed, inscribed and dated Sophie de Schomberg-Szymberska/Paris 1923 "Tournesols" (to reverse) Oil on canvas 80.5 x 64.9cm

‡Olwyn Bowey RA, NEAC (b.1936) Still life with a hawkmoth Signed Olwyn Bowey (lower left) Oil on canvasboard 50 x 60cm Provenance: The Collection of Bob and Elisabeth Boas

Pearl Pols (South African Contemporary) Still life with a vase of flowers by a window Signed Pearl Pols (lower right) Oil on board 101 x 91cm

‡Jack Morrocco (Scottish b.1953) Still life with silver teapot, wine glass and apples Signed MORROCCO (upper right) Oil on canvas 30.6 x 40.7cm Provenance: Lyon & Turnbull, Edinburgh, 31 May 2012, lot 90

JAIME COLSON (Dominican Republic, Puerto Plata, 1901-Santo Domingo, 1975)"Children", 1938, Paris.Wax on paper.Signed, dated and located in the lower left corner.Size: 30 x 23 cm; 47 x 38 cm (frame).Jaime Colson 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.

RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894)."Female nude".Oil on canvas. Relined.Signed in the lower left corner.Period frame, with some faults in the stucco and polychromy.Measurements: 175 x 80 cm; 213 x 118 cm (frame).Seated on cushions upholstered in silk and trimmings, a woman of cimbreantes hips and turgid flesh tones acquires a sculptural presence, being outlined in front of a dark bottom. She adopts a modest gesture that accentuates her attractiveness. She tilts her head to one side and her black eyes give off a melancholic glow. The nude seems to be based on baroque models, but Martí Alsina counterbalances the carnal charge with an intimate, modern touch. The silky qualities of the hair, the luminous modelling of the forms, the soft cushions, etc. bear the mark of a master.Considered today as the most important figure of Spanish realism, Martí Alsina was part of the European avant-garde of the time. He revolutionised the Spanish artistic panorama of the 19th century, was a pioneer of the study of life and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in philosophy and literature, alternating them with evening classes at the Barcelona School of Fine Arts until 1848. After completing this first apprenticeship and deciding to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession of Amadeo of Savoy to the throne. In 1853 he travelled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French Romanticism. Later he became acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed a corresponding member of the Sant Jordi Academy of Fine Arts in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From then on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exhibition in the French capital in 1889. His prizes included medals at the National Exhibitions in Madrid, third in 1858 for his work Last Day of Numancia and second in 1860 for his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with an undone brushstroke close to Impressionism. His themes include numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. He rarely devoted himself to still lifes, although he also painted some still lifes. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza Museum, the National Art Museum of Catalonia, the Barcelona Museum of Contemporary Art, the Museum of the Abbey of Montserrat and the Museum of l'Empordà in Figueras.

FRANCISCO RIBERA GÓMEZ (Madrid, 1907 - Málaga, 1990)."Still life with characters", 1953.Oil on canvas.Signed and dated in the lower left corner.Measurements: 150 x 170 cm; 170 x 190 cm (frame).Son of the painter Ribera Blázquez, he trained at the San Fernando Academy. In the thirties he worked as a poster painter, and during the Civil War he worked as an advertising draughtsman. In 1945 he obtained the chair of Drawing from Life at Rest at the Barcelona School of Fine Arts, of which he would eventually become director between 1964 and 1972. In 1946 he was made an Honorary Member of the Spanish Association of Painters and Sculptors, and the following year he received the same appointment from the Círculo de Bellas Artes in Madrid, after winning the Ministry of National Education Prize at the Salón de Otoño in the capital. A member of the Academy of San Fernando since 1967, he was also a member of the Academy of Santa Isabel de Hungría in Seville from 1971. He won several prizes in national competitions, notably the gold medal at the National Exhibition in Madrid in 1950, and international ones, being awarded gold medals at the Brussels (1965) and Paris (1968) Exhibitions.

An oil on card of a cottage scene, a still life of flowers, a tapestry picture and a cigarette card set framed

A Large Gilt Frame Containing Distressed Still Life Oil, Vase of Flowers, 49x59cms

A box containing vintage tins, a model of a classic car, decanter with plated stopper, West German vase, a still life oil painting and a vintage acoustic guitar.

After Mary Pavey (Canadian, b. 1938) : Still Life with Mixed Summer Flowers in a Blue and White Vase, colour print, 60 cm x 60 cm, framed.

After Pieter Casteels : Still life with Peaches, Plums and Grapes on Steps, reproduction in colours, 41 cm x 32 cm, together with the companion piece, as well as a pair of sporting miniatures depicting a cricketer and the Newcastle United footballer W. McCracken, all parts framed. (4)

A late 19th Century Framed Watercolour, Still Life, Flowers, 26x32cms

A Royal Worcester vase, 1903, printed and painted with wild flowers on a shaded apricot ground and gilt, 15.5cm h, green printed mark and shape No 2249, a Coalport pot pourri vase and cover, painted with an all over still life of ripening fruit, by R Budd, signed and richly gilt, blue printed mark and a German porcelain figure of a flower seller (4) Good condition

A Royal Worcester fruit stand, 1932, painted by T Lockyer, signed, with an all over still life of fruit before a woodland bank, the low foot similarly painted with a continuous subject, shaped gilt gadrooned rim and shell handles, 31cm l, puce printed mark Good condition

A Royal Worcester cream jug, 1939, painted by W Moseley, signed, with an all over still life of luscious fruit before a mossy bank, 97mm h, puce printed mark Crack at base of handle

Gwen Wicker (British, d.1965) - A 20th century Gwen Wicker oil on canvas painting 'White Flowers' still life. The painting signed to bottom left. Not framed. It measures approx. 46 x 46cm. 

Daphne Brand –  A 20th century still life oil painting depicting a jug of flowers, signed to the corner. Measures approx. 69cm x 56cm.

A collection of 20th Century British and Danish wall tiles, including: three various Art Nouveau style floral wall tiles, by Douglas Hunter; Nis Stougaard wall plaques illustrating Bornholm; and a large floral still life wall plaque, 38 x 31cms.

Two contemporary studio ceramic plaques, Helmut Schaffenacher (Germany) still life, 25 x 34 cm and Virus Ceramicus (Greece) miniature masks in textured surround (2) to/w Janine Partington, pair of vitreous enamel panels, stylised landscapes, 7.5 cm square, on painted plaques, t/w an unsigned work by another hand, five small terracotta figures seated on an iron 'ladder' (5)

Clermont Fine China (Malvern) rectangular plaque, painted with still life of fruit by John F Smith (formerly a painter at Royal Worcester), 35 x 25 cm, in ornate gilt frame

Clermont Fine China (Malvern) oval plaque, painted with still life of fruit by John F Smith (formerly a painter at Royal Worcester), 26 x 34 cm, in ornate gilt frame

20th century Continental school - Still life study with pitcher, and fruit on a platter, oil on board, 54 x 64 cm