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Early 20th century school, still life of flowers, oil on canvas, 50cm x 22cm, signed 'E Jenkins 1900' to lower right, together with a 19th century watercolour, 'Ann Hathaway's Cottage', 43.5cm x 22.5cm, signed 'W. Cook 1847'.

A pair of 20th century school still life studies of flowers, oil on boards, 39.5cm x 49.5cm, both signed 'Rachel R', gilt frames.

19th century school, oil on canvas, still life, 29cm x 24cm, signed 'D.W. 1880', gilt frame.

20th century school, oil on canvas, still life of flowers, 59cm x 71cm, indistinctly signed to lower left, gilt frame.

Flemish School (18th Century) Still life of flowers in a vase and fruit on a ledge, oil on canvas, arched frame, 64cm x 127cm

English School (20th Century)Still Life Studyoil on board29 x 44cm (11.5 x 17in)

Continental School (19th Century), Still Life Study of Flowers in a Vase, oil on canvas, 48 x 36cm

A W Davidson (British, 19th/20th Century), Still Life Studies, both signed A W Davidson (lower right), pair of watercolours, 24 x 34cm (2) Jentel COLLECTED 1/12/22 K8

Katherine Swinfen Eady (b.1966), still life, Signed verso, mixed media, 17cm x 22cm

Still life study of a floral bouquet, unsigned, in good quality gilt frame and glass, 33 x 39 cm 

Still life study of flowers in vase dated 1991 and signed lower left, 47 x 62cm framed 

Will Evans (Welsh 1888-1957), a group of assorted watercolours to include: still life studies, landscapes, farm cottages, Oxwich Bay, Swansea townscape etc. Unframed. Various sizes, 40 x 58cm approx and larger. (9)(B.P. 21% + VAT) Provenance: consigned from a member of the artists family.

Irene Welburn (British, 1910-2000),Still life, flowers in an urn shaped vase,Oil on canvas,Signed lower left,70cm x 70cm,FramedWith a tondo floral still life, oil on board, signed "H. Shaw" lower left, 49.5cm diameter (at fault) (2)

E. Vanderman (mid 20th century school),A floral still life with tulips,Oil on canvas,Signed lower right,75cm x 62cm,Framed,With a further unsigned floral still life, oil on canvas, 54cm x 38cm, framed (at fault) (2)

English school (20th century),Still life with yellow roses in a jug,Oil on canvas,Unsigned,23.5cm x 29cm,Framed,With a further floral still life oil on canvas, 50cm x 39.5cm, framed (2) (at fault)

Full title: French school, illegibly signed: Flower still life with nest, oil on canvas, dated 1855Description:Work: 46,5 x 38 cm Frame: 61,5 x 52,7 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Victor Simonin (1877-1946): Still life with anemones, oil on canvas, ca. 1930Description:Work: 50 x 40 cm Frame: 62 x 52 cm Provenance: - This work was part of the art exhibition 'Figuratief expressionisme uit de collectie Govers', which ran from March 16 -June 9 2013 at the Museum De Wieger, Deurne. Illustrated on p. 31 of the catalogue. - Private collection, Belgium. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Frans Mortelmans (1865-1936): Still life of flowers, oil on canvasDescription:Work: 100 x 60 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Léon Spilliaert (1881-1946): Still life of flowers, gouache, dated 1922Description:Work: ca. 68,5 x 45 cm Frame: 115,5 x 91 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Jef Van de Fackere (1879-1946): Still life of flowers,oil on canvas, dated (19)42Description:Work: 76 x 63,9 cm Frame: 88,8 x 76,8 cm The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Jacques Tenenhaus (1947): 'The walking man', steel patinated bronze, foundry Landowski, ed. 1/8, dated 2011Description:H 173,5 - 159,5 cm (with and without stand) Jacques Tenenhaus was born in Paris in 1947. After having studied at the Cours Charpentier in Montparnasse he became, in 1965, the student of the painter Goetz. He slowly started to explore sculpture. He himself puts it this way: 'And the Eternal God made the human kind, clay of the earth, then he breathed a soul of life in his nostrils, and the human kind was born. When i use clay to work, I believe that I am... I take the clay, I push it, I stroke it, I lift it, I smooth it to give it life. I stop after a while, when I can't go any further. I can see that the real life doesn't appear. But there is a life track, a track of a life emotion. What a was bore, can't be named, but it's a shape, a shaped emotion. But I am still sad that he life, itself is not here. Perhaps it's for that reason, that one sculpture pushes me to an other. To finally create the miracle of the life. What's left, is what I give you to see, it's the track of the path which goes through undefined emotion, a shape to make an emotion visible, track of life. This path it's yours, it's your eye sights which recreates it through the curves of the sculpture, you give it life with your eyes presence, and your hands stroking it.' (link) He exhibited, a.o., in Germany (Galerie Koblenz, 1978), in France (Galerie Horizon, Versailles, 1982; Salon FIAC avec la Galerie Liliane Francois, 1983-1984; ; Galerie Gabrielle Laroche, Paris, 2002; Galerie Vendome, 2004, Paris), in Switzerland (Galerie Faust, Geneve, 1985) and Belgium (Galerie Monumentum Art, Knokke, 2011). Ref.: - Jacques Tenenhaus, Traces de vie, 2011. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Willem Grasdorp (1678-1723): Still life with flowers, oil on canvas, early 18th C.Description:Work: 62,9 x 53,1 cm Frame: 83,6 x 73,8 cm This work with roses, a parrot tulip, morning glory, narcissi and other flowers, with a snail, around a stone urn on a ledge was previously attributed to the circle of Rachel Ruysch (1664-1650). In 2004, Fred G. Meijer confirmed Willem Grasdorp as the painter of this beautiful flower still life. Provenance: - Ex-collection Jan Muller, Ghent. - Private collection, Belgium. The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Alexander Coosemans (1627-1689): Still life with fruit and oysters, oil on canvasDescription:94,5 x 54,8 cm The painting with an old lable to the back with an attribution to Jan Davidsz. de Heem (1606-1684) and with the info that the work was part of the collection of Stanislaw Ciechanowski (15 July 1967). The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Alberto Giacometti (1901-1966, after): Still life with tableware, multiple, [1955]Description:Work: ca. 46,5 x 32 cm Frame: 77 x 62 cm From the book 'Quarantacinque Disegni di Albert Giacometti', published by Einaudi Editore, Torino, Italy, 1963 (edition of 1245). The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website.High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

A Strawberry spoon PaivaFranceSilvered metal CHRISTOFLE, said "Marchioness of Paiva", the bowl strawberry shaped and the handle of strawberry flowers and branches decorationIn the original green storage case with gilt bumble bees, with display frame and commemorative plaque inscribed "Coupelle Marquise de Paiva - Reproduction du Musée Bouilhet Christofle"(in very good condition)The Marchioness of Paiva was a renowned courtesan during the Second Empire. Her Champs-Élysées palace, which still stands, was the setting of a life of splendour and refinement.The Maison CHRISTOFLE supplied all of the Marchioness's residence silverware as per the reedited spoon herewith referred.Comp: 16 cm

Mohammad Iqbal (Bangladeshi, B.1967)The Holy Circle-27 signed and dated 'M Iqbal 2022' lower right, further signed, dated with title and medium versoacrylic on canvas73 x 73cm (28 3/4 x 28 3/4in).Footnotes:'Wars and crimes, religious grudges and racial conflicts never seem to end in this 'civilised world.' The development of philosophy, science and technology has contributed enormously in progress of human civilisations and overall betterment of the mankind. Unfortunately, while at the peak of human advancement, certain acts against nation, society and environment have jeopardised the progress. These are consequences of world turning in to a corpus for mechanical states and host for anti-humanism and fanaticism. These self-inflicted harms have affected entire environment that accommodates all creatures.As an artist, I have tried to portray nature as well as the most candid but the most punished living beings – the helpless, tortured and conflict-stricken children as a subject of my dispute with the so-called modern civilisation. This is why children's faces have become subject of my painting. Pain, insecurity and fear are mirrored through their eyes and faces. The stories of my paintings derive from reality, media information and other sources. However, the faces in my paintings are imaginary and reflect my personal emotions and sentiment leading me to name the produced works Destruction of Civilization, Lost Civilization, Peace in the Time of Disquiet, The Holy Circle, Unknown Faces, Expression, Dreaming of a Safer world, Unfettered Lifeand Distant Skies. The subject and introductory thoughts on my paintings are sequentially illustrated in the thesis entitled 'Civilization and Destruction'. I believe the subject is very important in my painting and thus, the hints and introduction in the subject selection are divided into three parts with relevant information and sketches. The focus on the subjects include mentally shattered children in the war and conflict; environmental pollution and the children affected by the environmental imbalance; and child labour, slavery and children troubled by the acts of anti-humanism.Some childhood memories stay forever. Some of my childhood memories are horrific and still fresh. I was four years old in 1971 during the Bangladesh war of independence. The fear and suffering of that war come back to my mind whenever I learn about any new conflict. The dead bodies of the innocent children and the faces of those who survived —handicapped or orphaned make regular headlines in the mass media. These invoke my childhood memories of the frightening 1971 war. Losing their parents and family, many orphan or street children are growing up in conflict-ridden surroundings. In some region, war and conflict have been a common phenomenon. Children in these parts of the world have spontaneously adapted with the consequences of the war.Violent disruptions in a child's life unnerve me with deep empathy and sorrow. Their oppressed and shattered conditions have been the focus of my paintings. Employing different styles and techniques in figuration, I have tried to recreate their faces. I concentrated on children's facial moods and expressions using subtle lines and deep shades. In doing so, I created paintings with a chiaroscuro-like effect — distributing light and shade while constructing two-dimensionality with grey and transparent background. Facial expression of the human being is my prime interest. I tried to express the emotions of human nature —sorrow, happiness, melancholy, illness and laughter through face. My paintings do not expose any particular child's face. In fact, I have tried to make them universal and impersonal. Usually the faces are drawn from my imagination and recollection of the past. From top to bottom, the backgrounds in my paintings are created with ten to twelve layers of oil colour.Round and curvy dot-like background shapes in almost all my paintings are my unique trait and style. These dot-like shapes symbolize the air and environmental pollution. These round-dotted shapes or bubble-like forms spread all over the background, parts of my aesthetic style, project the man-made imbalances in nature. Again, this symbol is a reflection of the urge to create a secured livelihood, a good future, a beautiful habitat and a war-free and pollution-free environment for the children. Furthermore, the dotted shapes in my paintings have become the symbol of my dispute.' (Mohammad Iqbal, September 2022)This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Bryan Ingham (British, 1936-1997)Still Life, Kynance signed, titled and dated 'Still life/KYNANCE./1990-94/Bryan Ingham' (on the backboard)collage, oil and pencil on board40.5 x 86.5 cm. (15 7/8 x 34 1/8 in.)Footnotes:ProvenanceWith Francis Graham-Dixon Gallery, LondonPrivate Collection, U.K.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

Paul Feiler (British, 1918-2013)Supported Ovals, Brown signed, titled and dated 'PAUL FEILER/SUPPORTED OVALS, BROWN/1963/64' (verso)oil on canvas92 x 92 cm. (36 3/16 x 36 3/16 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, where acquired by the family of the present ownersPrivate Collection, U.K.Following the success of his 1953 solo exhibition at The Redfern Gallery, Paul Feiler purchased a chapel at Kerris near Penzance, which would become both his studio and centre of family life. Despite splitting his time between Cornwall and Bristol for the next twenty years, it was the Cornish coast with its dramatic light and rugged geography that drew his attention and provided a seemingly endless source of inspiration. Feiler became a central figure in the 'St Ives School', alongside other British pioneers of post-war abstraction such as Patrick Heron, Peter Lanyon and Roger Hilton, outstanding examples by whom are included in the present collection. Supported Ovals, Brown dates to 1963/4 and demonstrates Feiler's interest in the interplay of shape and form at this time. Many of the compositions from this period were originally explored through a number of drawings, in turn informing the oil paintings, which often went through several stages before completion. In the present work, a complex layering has been undertaken to ground the oval shapes which appear like cells, overlapping one another in motion. The horizontal lines of black and darker brown provide both structure and stability within the pictorial space, which is square to enhance the sense of balance. As is the case here, the titles of the paintings from this period tend to consist of two or three parts with a defining adjective (in this case 'supported') alongside a colour description. Whilst this marks a change from the references to specific Cornish locations that proliferated in the titles of works from the previous decade, the influence of the landscape in Supported Ovals, Brown is still potent.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

William Roberts R.A. (British, 1895-1980)The Punters (The Punt) signed 'Roberts' (lower right)oil on canvas40.6 x 50.8 cm. (16 x 20 in.)Painted circa 1943Footnotes:ProvenancePrivate Collection, U.K.LiteratureWilliam Roberts, Paintings and Drawings by William Roberts R.A., London, privately printed, 1976, pl.2 (ill.)The outbreak of war in September 1939 gave William Roberts a much-needed opportunity. With the turmoil abroad came a great degree of personal upheaval in having to relocate the family and find new work, however, the conflict also brought about new subject matter that favoured his figurative style, which had spent much of the 1930s in the shadow of Abstraction (epitomised by the Unit One movement and spearheaded by Paul Nash and his contemporaries). In 1940, with the growing threat of invasion and bombing, William and Sarah Roberts moved out of London and settled in Marston, a suburb of Oxford on the banks of the River Cherwell. The locality provided rich inspiration including a gypsy encampment around the corner from their home and the river with its punting, fishing and riverside picnics offered the mixture of nature and human activity that Roberts liked best. Painted in 1943, the present work is a tightly composed composition held together by a series of diagonals that guide the eye in a zig zag across the picture plane. Punting poles, human limbs, reflections in the water and the cows' backs all serve this purpose and make for an ingenious design that the artist first trialled in a watercolour and three pencil studies. The serene pastoral scene brings to mind the work of the Old Masters and comparisons have been drawn with Poussin and Andrew Gibbon Williams states 'The calculated deliberation with which Roberts orchestrates his multiple figure groups is analogous to that of the French master; it is as if Seventeenth-Century Classicism is being strained through the sieve of Cubism' (William Roberts, An English Cubist, Lund Humphries, Aldershot, 2004, p.105). This effect can also be seen in another tour-de-force from this Oxford period Parson's Pleasure (Private Collection, 1944). Roberts favoured complex compositions which often showed popular leisure pursuits and here we have an all-female group of punters who are making steady progress through this calm, pastoral scene, the river apparently so still that their limbs and those of the cows which stand and rest above are reflected with mirror-like accuracy in the cool water. Roberts has succeeded in distilling a sense of tranquillity, and conjures the impression of a hot but still summer's day. He also invokes a sense of harmony, of human activity and the natural world co-existing peacefully side by side, each enjoying the pleasures of the countryside, as the cows look on with a benevolent air, mostly at rest, either chewing the cud or idly grazing. The colour palette of the present work is also especially rich, with the whole scene infused with a sense of warmth. The cows are sensitively and generously rendered in warm umber, inky black and with patches of creamy white, while the sky is a warm, glowing orange, the cows resting in the shade of the tree. A man rests on a gate in the background, perhaps in respite from the heat of the day, while the women keep cool in swimsuits in rich shades of teal, maroon and brown. In this very tightly-constructed, complex composition, Roberts effectively shows us a snapshot of life in the countryside as he must have observed it, conveying a sense of this hot, still summer's day with masterful ease. Please see the introduction to the preceding lot for further detail on the provenance of this work. We are grateful to David Cleall and Bob Davenport for information provided about this lot.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

Christopher Wood (British, 1901-1930)Flowers in a Blue Vase oil on canvas35.9 x 30.1 cm. (14 1/8 x 11 7/8 in.)Painted in 1922Footnotes:ProvenanceJack BeddingtonHans & Elsbeth JudaTheir sale; Sotheby's, London, 26 April 1972, lot 132, where acquired by the father of the present ownerPrivate Collection, U.K.ExhibitedSheffield, Graves Art Gallery, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, May-June 1967, cat.no.160LiteratureEric Newton, Christopher Wood, Redfern Gallery, London, 1938, cat.no.9Exh.Cat., Robert Melville, In Our View: Some Paintings and Sculpture bought by Hans & Elsbeth Juda between 1931-1967, Graves Art Gallery, Sheffield, 1967, n.p., cat.no.160 (ill.b&w)For Christopher Wood the year 1922, his twenty-first, was to be the year his artistic aspirations accelerated at a profound rate. In January he wrote to his mother stating 'My ambition as I said is to be a great painter and as I am learning now I shall stand every chance of becoming one' (quoted in Richard Ingleby, Christopher Wood, An English Painter, Allison & Busby, London, 1995 p.52). By early summer his sights were set much higher. In June he would again write to his mother declaring 'I have decided to try and be the greatest painter that has ever lived' (Ibid p.59). Wood's charismatic bravado is by no means unique among young artists, however as the following years were to prove his assuredness was quite merited. Throughout the 1920s, Wood led a fascinating and fabled existence, connecting with many great artists including Picasso, Cocteau and Lhote on the continent, and the Nicholsons, Morris and John in Britain. He exhibited successfully, including as a member of The Seven and Five Society, and developed an idiosyncratic painterly vocabulary which joyfully fused post-impressionism and primitivism. The meteoric rise of his star was tragically cut short by suicide just a decade into his career. Despite his short years, it is generally accepted that without Wood's contributions and connections, the history of modern British painting could have taken a different course entirely.The present painting is a rare example dating to the year in which Wood's ambition was at its peak, and his artistry was enlivened by a rich array of influences. With minimal formal training to date, his talent and charm had already attracted the attention of a wealthy collector named Alphonse Kahn. Kahn's renowned collection of modern paintings afforded Wood close access to works by Cézanne, Matisse and the Old Masters, and his sponsorship enabled Wood to study in Paris at the Académie Julian, whilst living in Montmartre. There Wood became acquainted with the Chilean diplomat José Antonio de Gandarillas, with whom he would travel extensively. In February of 1922 Wood and Gandarillas toured Northern Europe, including Brussels, Ghent and the Netherlands. Spring would take them to the South of France and the casinos of Monte Carlo, before crossing the Mediterranean to Tunis and on to Sicily, Malta and Greece. In August they set sail from Athens to Constantinople, before weaving through central Europe back to London in autumn. Throughout he painted a small number of still-lifes, such as the present work and Lemons in a Blue Basket (Pallant House, Chichester). These paintings display Wood's early prowess as a colourist, and as noted by Katy Norris reveal that Wood 'seemed to understand that the creation of emotional narrative was related to the sensuous qualities of the objects and the manner in which they were held together within the space' (Katy Norris, exh.cat., Christopher Wood, Lund Humphries, London, 2016, p.33). Such works are informed in part by Cézanne, especially in composition, but also by Van Gogh, whose letters Wood discovered in 1922 and whom he would develop an adoration of. Specifically, it is Wood's flower paintings which can be considered the fruit of this idolisation. As Katy Norris highlights 'Wood observed a perfect synergy between the simplicity of Van Gogh's paintings and his modest rural existence that was to have a determining impact on the young artist's own approach to art and life' (Ibid. p.46). The present work was formerly in the collection of Hans and Elsbeth Juda. Hans Juda (1904-1975) founded The Ambassador export journal for textiles and fashion, and Elsbeth Juda (1911-2014) was a pioneering fashion and art photographer whose subjects included Henry Moore, John Piper, Kenneth Armitage, Peter Blake, and Graham Sutherland, whom she photographed in 1954 on the occasion of Winston Churchill's final sitting for Sutherland's famously ill-fated portrait of the statesman.We are grateful to Robert Upstone for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

Peter Lanyon (British, 1918-1964)Still Air signed and dated 'Lanyon 61' (lower left); further signed, titled and dated again 'STILL AIR/Lanyon Sept 61' (verso)oil on canvas91.1 x 122 cm. (35 7/8 x 48 in.)Footnotes:ProvenanceJonathan LanyonSale; Sotheby's, London, 27 June 1979, lot 211 Professor BallWith Bernard Jacobson Gallery, LondonPrivate Collection, U.K.ExhibitedNew York, Catherine Viviano Gallery, Lanyon, 30 January-17 February 1962, cat.no.13San Antonio, Marion Koogler McNay Art Institute, Paintings by Peter Lanyon, 24 February-March 1963London, Tate Gallery, Peter Lanyon, organised by the Arts Council of Great Britain, 30 May-30 June 1968, cat.no.70London, Archer Gallery, Two by Seven: Bryan Wynter, William Scott, Peter Lanyon, Josef Herman, Heinz Henghes, Paul Feiler, Ralph Brown, 8 November-1 December 1972, cat.no.5London, Bernard Jacobson Gallery, Peter Lanyon: Landscapes 1946-1964, 2-27 April 1991, cat.no.21LiteratureAndrew Causey, Peter Lanyon: His Painting, Aidan Ellis Publishing, Henley-on-Thames, 1971, p.64, cat.no.170Toby Treves, Peter Lanyon, Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.505, cat.no.489 (col.ill.)Peter Lanyon's gliding paintings are a body of work which represent the pinnacle of his achievements as a painter. Lanyon was a master at corralling his experience of the elements and transposing these onto canvas, in a way that can transport the viewer to his native Cornwall almost instantly. He joined the Cornish Gliding Club at Perranporth Airfield in June of 1959, and was tragically to die in 1964, aged only forty-six, as a result of an accident while gliding, but it was this past-time that was to provide the impetus for so many of his most successful paintings. Still Air is one such painting.The present lot, with its expanses of grey-white paint and streaks of deep blue and ochre, is unusual in Lanyon's output both for the sparing use of paint and the capacious expanse which Lanyon conjures on the canvas. As Lanyon was to comment, he was preoccupied with depicting space itself, and Still Air is a particularly successful example of this endeavour. He noted that: 'A painter's business is to understand space – the ambient thing around us. I don't mean the old approach to landscape – sitting in one place and taking the view, as you get in traditional painting. What I'm concerned with is moving around in this space and trying to describe it. That's one reason I go in for fast motor-racing, cliff-climbing and gliding – gliding particularly: I like using actual air currents; I feel I'm getting to the root of the matter.' (Peter Lanyon quoted in Toby Treves, Peter Lanyon: Catalogue Raisonné of the Oil Paintings and Three-Dimensional Works, Modern Art Press, London, 2018, p.30).In Still Air, Lanyon has succeeded in translating this quest for depicting the elements in the most truthful way. A mass of pale grey-white covers most of the surface, which feels almost thick and foggy in its obfuscating opacity, and in the way whispers of blue paint blend into it, emerge from it, or seem suspended in its midst. For Lanyon, the way in which the paint was applied to the canvas carries huge feeling and meaning: as Toby Treves has written, for Lanyon 'the gestural brushstroke was invested with physical and emotional qualities: movement and by extension time were intrinsic; the mark could be light or heavy, fast or slow, strong or feeble, confident or hesitant, angry or calm, violent or tender'. He goes on to comment that: 'The range of sensations and moods that he was able to convey in those works, which are perhaps his supreme achievement, is a measure of his mastery of the manner' (Ibid., p.18).The present work is no exception. A deep blue with a hint of teal is swept across the canvas, marking out what could be jagged rocks or rushing sea, while golden ochre gives the suggestion of fields of golden corn, ready for harvest, which would have been timely considering the painting was executed in September 1961. The finesse and feeling which Lanyon imbues in each stroke shows his command of the medium. The ochre appears to be brushed on rapidly, while there is an almost calligraphic élan to the singular strokes of deep blue in the lower left corner of the work, while the smudging and subtlety to the hints of blue paint elsewhere are particularly unusual. As Toby Treves has observed, 'the extent to which the colours and forms are softly blurred is unique within the oeuvre', an effect which has been achieved by using paint which has been thinly diluted, and brushed carefully over the under-painting (Ibid., p.504). This expressive use of paint has lent Still Air a particularly meditative calm: it is easy to imagine him floating through the sky, looking down on a patchwork landscape below, partly obscured by fog or mist.Lanyon's titles are particularly atmospheric and descriptive, and it is easy to get lost in the lyrical tribute that each work pays to the landscape that he flew through. Still Air is just one of so many paintings which capture his experiences: Gusting, Cliff Wind, Soaring Flight, Spring Rain, Weathering, Strange Coast – these titles could almost read as a short poem themselves, so descriptive yet enigmatic are they. The very month that Still Air was completed, Lanyon was elected Bard of Cornish Gorsedd for his services to Cornish Art, on 2nd September 1961. Considering the title of this painting and the others mentioned above, his Bardic name - Marghak an Gwyns (Rider of the Wind) – is particularly fitting.Lanyon wrote that 'art is a communication of life to the living' (Peter Lanyon, letter to Terry Frost, quoted in Ibid., p.21), and Still Air is a particularly fitting example of this. Toby Treves has summed up this transfiguration of paint to feeling in Lanyon's work incredibly succinctly: 'We do not need to be Cornish or to go to Penwith or to be Peter Lanyon to know what it feels like to carry a landscape inside ourselves; we just need to go to that place, wherever it is, that occupies us, as Penwith did him. We do not need to read science or philosophy to accept that we are in a condition and a system of permanent change or to know that our sensate bodies are the source of much of our experience of being in the world; we just need to take a walk. The weather is not an elite phenomenon, and nor is the air. And most of us are acquainted with the great human emotions, or will be soon. Lanyon painted about these things to share them, to let us know that he had been where we are.' (Ibid., p.22). Still Air is a masterful translation of this ordinary but universally uplifting feeling: it transports us into the elements, to where we can feel the cool breath of autumnal air on our skin, enjoy the whip of wind as it blurs our vision, and experience the landscape as he saw it.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

19th century Spanish school."Still life of fruit".Oil on canvas.Size: 53 x 79 cm; 71 x 97 cm (frame).In this work the artist shows his magnificent ability for still life painting, especially appreciable in his way of working the different qualities of the elements, as well as in the careful modelling through the soft variations of lights and shadows. The intense colouring of the fruit also stands out before our eyes, toned and balanced, very well thought out, but at the same time very naturalistic and warm. The dark background, enveloped in a half-light from which the fruits seem to emerge, is inspired by the black backdrop common in 18th-century Baroque painting. Similarly, this asymmetrical yet balanced, rational composition derives directly from the Spanish works of Sanchez Cotán, in which the placement of the foodstuffs, arranged in an apparently natural yet perfectly studied manner, is a priority.

19th century Spanish school."Still life of fruit".Oil on canvas.Size: 53 x 79 cm; 71 x 97 cm (frame).In this work the artist shows his magnificent ability for still life painting, especially appreciable in his way of working the different qualities of the elements, as well as in the careful modelling through the soft variations of lights and shadows. The intense colouring of the fruit also stands out before our eyes, toned and balanced, very well thought out, but at the same time very naturalistic and warm. The dark background, enveloped in a half-light from which the fruits seem to emerge, is inspired by the black backdrop common in 18th-century Baroque painting. Similarly, this asymmetrical yet balanced, rational composition derives directly from the Spanish works of Sanchez Cotán, in which the placement of the foodstuffs, arranged in an apparently natural yet perfectly studied manner, is a priority.

Mansur Aye (Pakistani, 1941-2008)Untitled signed and dated Mansur Aye '05 lower leftoil on canvas, framed61 x 45.7cm (24 x 18in).Footnotes:ProvenanceAcquired from Eye from Art, Karachi in 2022.A self-taught painter, Aye had his first exhibition in Karachi in 1962 at the Karachi Arts Council. Known for his moon faced girls, as seen in the present lot, portraits of women, musicians and still life, he employed a diverse range of materials such as oils, acrylics, mixed media and pencil to create his images. His works are characterised by their simplicity and economy of lines.For further information on this lot please visit Bonhams.com

Francis Newton Souza (Indian, 1924-2002)Sketch Book 1996-97 (20 Drawings including 2 artist inscriptions) all signed and datedmixed media on papereach 18 x 26.5 cmFootnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenanceAcquired from Christies, South Asian Modern & Contemporary Art, including Property from the Estate of Francis Newton Souza, 9th and 10th June 2010, lot 138.Born Francisco Victor Newton de Souza, Souza was expelled from St Xavier's College, Bombay for drawing obscene graffiti in the bathrooms. He subsequently enrolled at the Sir J.J School of Art, Bombay but was expelled again, this time for participating in the Quit India Movement and pulling down the Union Jack flag during a school ceremony. Despite this, he became a founding member of the Bombay Progressives in 1947, and later emigrated to the UK in 1949, as his works were deemed to be obscene for Indian audiences. Initially he found little success in the UK, however his sold out 1955 exhibition at Victor Musgrave's Gallery cemented his status in the art world. His works, a combination of the eclectic, drew heavily on the post-war Art Brut movement and elements of British Neo-romanticism. The sketch book on offer in this auction made towards the end of his life is an amalgamation of his most well known motifs; sensual and statuesque nudes, faceless bodies, sex and the visceral and still life. They capture Souza's essence and illustrate the spontaneity that he is so well known for. The 18 drawings are accompanied by 2 inscriptions, as below. The two inscriptions are: 'In a land of geniuses I chose to be a dumb-dumb.' Mumbai, Souza '97.3 January '97 - Calcutta MuseumSo much stuff on fertility: goddesses, lingams, yonis and cults - that no wonder modern India beats the brunt of overpopulation! Men's origin is higgledy-piggledy! Who can ever render an apology to anthropology? That man ever attempts to record history, catalogue the diversity, label the facets shows the absurdity of his egotism, the futility of the exercise - worse: nature makes a mockery of him by forcing him to maintain such records in libraries and museum and archives! (Which turn out to be erroneous eventually...)The infinity of the Cosmos and the cast branching of man cannot be categorised as subjects like cosmology and antropology, (biology and science and religion etc.) The answer is a humble retreat saying, I know that I know nothing.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Sadanand K. Bakre (Indian, 1920-2007)Landscape inscribed Bakre 1962 in Devanagari lower right and signed and dated versooil on board, framed45.8 x 60cm (18 1/16 x 23 5/8in).Footnotes:CELEBRATING 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection UK; Acquired from a shop in Lancashire in the 90s.Note: There is a label on the reverse from Burton Gallery, Burton in Wirral, Cheshire which includes the artist's name, the title, medium, the name of the original collector and the date 30th November 1966. In addition, the artist has signed and dated the work in English and Devanagiri, and there is an address 19 Street Helens Garden, London, W.10. The size of the work 18 x 24 is also written, along with LAD 8434.Born in Baroda, Bakre was one of the six founders of the Bombay Progressive Artists' Group in 1947. He studied at the Gokhale Education Society School, where his talents were encouraged, and at the age of sixteen, he held his first solo exhibition at school, where he showcased his clay models of drapery, watercolour landscapes, still life and figurative works. He subsequently enrolled at the Sir J.J School of Art and received his Diploma in Sculpture in 1944. Always looking for new ways to express himself, he abandoned the medium in 1951 when he moved to London and turned his focus to paintings. The present work was created during the 60s, when Bakre's style evolved considerably. Often considered the most important period for his oeuvre, he moved away from academic realism to abstraction, and was influenced by the sculptors Henry Moore and Jacob Epstein and the jagged and repetitive style of the British Vorticists; they were a group formed in London in 1914 who wanted to create art that expressed the dynamism of the modern world. This period is characterised by the visual similarities between his paintings and sculptures and their bold geometric lines. He perhaps best describes this period himself 'I paint as I like... I am traditionally trained and perfectly capable of accomplishing completely realistic work. But my interest in forms has gone far beyond the dull imitations of subject matter, which to me is almost unimportant.' (S. Bakre, All Art Is Either Good or Bad, Free Press Bulletin, March 24, 1965). For a similar work sold in these rooms see, Bonhams, Modern and Contemporary South Asian Art, London, 25th October 2021, lot 46.For further information on this lot please visit Bonhams.com

Sayed Haider Raza (Indian, 1922-2016)Untitled signed and dated 'Raza 72' lower right, further signed, dated and inscribed 'Raza/1972/15F' and 'SHR-16' versoacrylic on canvas65 x 54cm (25 9/16 x 21 1/4in).Footnotes:CELEBRATING SAYED HAIDER RAZA'S BIRTH CENTENARY AND 75 YEARS OF THE PROGRESSIVE ARTISTSProvenancePrivate Collection, France;Artcurial, Contemporary Art, 29th June 2009, lot 215, Paris;Delhi Art Gallery, New Delhi;Acquired from the above by the current owner.LiteratureKishore Singh, Syed Haider Raza:The bindu as leitmotif for art and life, DAG series, New Deli, Delhi Art Gallery, 2011, p. 41 (illustrated).Anne Macklin (ed.), S H Raza, Catalogue Raisonné, Volume II (1972-1989), Vadehra Art Gallery & The Raza Foundation, New Delhi, 2022, p. TBC.ExhibitionContinuum: Progressive Artists Group, Delhi Art Gallery, New Delhi, 19th January 2011-8th March 2011. Formlessness in its metaphysical aspect also ascribes abstract value to the great life force. Born a Muslim, and married to a Christian, Raza would be familiar with the value ascribed to the unknown: thereby eliciting an epiphany and wonderment in the act of painting. The small work 'Untitled' which comes in the beginning of the decade of the 70s, close in time to works like La Source (1972) and Tarangh (1975) still bears signs of the struggle with darkness—a metaphor for fear as much as for incomprehension, even desire. With this small painting, the artist allows himself some relief. The mood is chilled, even wintry, the rising plant like forms that seem to burst through black hardened surface are seemingly frosted over. And yet they survive, faintly illuminated by the promise of a dawn, breaking just over the horizon. Even in the winter chill, there is the promise of vitality and new life. Perhaps the artist was poised for the rise of the blazing Bindu, like the subcontinental sun, that would continually unfold its significance to him, over the next few decades. - Gayatri Sinha, September 2022.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

Gerald A. Cooper (British, 1899-1975)An abundant still life of daisies and a sunflower signed 'Gerald Cooper' (lower right)oil on board76.9 x 64.2cm (30 1/4 x 25 1/4in).Footnotes:ProvenanceWith E. Stacy Marks Ltd., London, no. c644.Sir Frank Williams CBE, UK.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

John Wainwright (British, active 1860-1869)Still life with flowers and stuffed birds in a glass domesigned and dated 'Jno Wainwright 1866' (lower left) oil on canvas 50.8 x 40.7cm (20 x 16in).Footnotes:ProvenanceWith Bond Street Galleries, London.Private collection, UK.For further information on this lot please visit Bonhams.com

Cecil Kennedy (British, 1905-1997)Still life of flowers in a silver vase, a self portrait reflected in the vasesigned 'Cecil Kennedy' (lower right) oil on panel 61.3 x 50.8cm (24 1/8 x 20in).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

Cecil Kennedy (British, 1905-1997)Still life with dahliassigned 'Cecil Kennedy' (lower right) oil on canvas 51.1 x 61cm (20 1/8 x 24in).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

Cecil Kennedy (British, 1905-1997)Still life of poppiessigned 'Cecil Kennedy' (lower right) oil on canvas 50.8 x 40.7cm (20 x 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

Pierre Laprade (French, 1875-1932)Still life of flowers, ceramics and books, a pair both signed 'Laprade' (lower right)oil on canvasthe first 49.5 x 126.4cm (19 1/2 x 49 3/4in); the second 48.2 x 115.5cm (19 x 45 1/2in). (2)Footnotes:ProvenanceAnon. sale, Christie's, London, 27 June 2002, lot 64.Private collection, UK.For further information on this lot please visit Bonhams.com

2 OIL PAINTINGS STILL LIFE

ANTIQUE GILT FRAMED WATERCOLOUR - STILL LIFE

Life and Reign of Lewis XIV, Late King of France and Navarre, engraved portrait frontispiece, woodcut head-pieces and initials, 3pp. publisher's catalogue at end, armorial bookplate of Sir Robert Johnson Eden, some light spotting and browning but still a crisp copy, later calf, gilt, with red morocco label to spine, lightly rubbed, 8vo, Printed by H. Meere et al., 1715.⁂ Published the year of King Louis XIV's death, we can trace only one copy ever appearing at auction.

A collection of Disco, Funk, Soul, Acid Jazz and Contemporary R&B LP's to include Beverly & Duane 'Beverly & Duane' (SW-50051), Law 'Breakin It' (MCF 2785, white label), Wild Cherry 'I Love My Music' (BL 35011, promo), Ashford & Simpson 'Is It Still Good To Ya' (K56547), Crusaders 'Street Life' (MCF 3008), Odyssey 'I Got The Melody' (RCALP 5028), Rose Royce 'Strikes Again' (K56527), Stevie Wonder 'Hotter Than July' (STMA 8035), Atlantic Starr 'All In The Name Of Love' (925 560-1), Mac Thornhill 'Mac Thornhill' (THORN 1, white label, one LP only), Omar Chandler 'Omar Chandler (MCA 10057), CJ Anthony 'Luv's Invitation' (KMA-LP-004), Major Harris 'I Believe In Love' (MKL 3, white label), Impact 'Impact' (SD 36-135, promo), Van McCoy & The Soul City Symphony 'Disco Baby' (AV-69006-698), Innocence 'Belief' (CTLP 20), Ronny Jordan 'The Antidote' (ILPS 9988), En Vogue 'Born To Sing' (7567-82084-1, promo), Delilah 'Dancing In The Fire' (S.P.D 1, test pressing), Will Downing 'Will Downing' (BRLP 518), Sam Dees 'Secret Admirer' (PP1002), Dynasty 'Daydreamin' (ST-72550), Trisha Covington 'Call Me' (XPR 2137, promo), Patti Austin 'Gettin Away With Murder' (1-25276), Gene Rice 'Just For You' (PL83159) and Donna Summer 'Once Upon A time...' (CALD 5003) (26, vinyl F-VG+, sleeves G-VG)

E Walter, Still life with roses and grapes,watercolour, signed and dated 1871,25x36cm.

Reproduction picture, another of a landscape scene and a modern still life.  (3)

Continental School, late 19th Century/Still Life/of a basket of fruit/indistinctly signed lower left/oil on canvas, 60cm x 50cm/unframed CONDITION REPORT: relinedCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Continental School, 19th Century/Still Life with vase of flowers/oil on canvas, 74.5cm x 62cm/Provenance: Spetchley Park, Worcestershire CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

20th Century/Still Life/basket of fruit on a table/oil on canvas, 50cm x 60cm CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

Nigel Ashcroft (born 1951)/Still Life with Bowl of Cherries/initialled, watercolour 26cm x 19cm and/Blue Bowl with Garlic, 16.5cm x 23cm and two other watercolours (4) CONDITION REPORT: ARR Artist's Resale Right may apply to the sale of this lot if the hammer price is the equivalent of 1000 Euros or more, incurring an additional fee. For further information please ask Chorley's or visit www.dacs.org.ukCondition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

A late Victorian rosewood tabletop stereoscopic/magnifier: with inscribed presentation plaque to front dated 'March 1874' together with two cabinet photographs by Oscar Olssen, Gefle and four hand tinted still life photographs in original box.

Oliver Clare (British, 1853-1927), Still Life Oil on Canvas, Apple and Plums, 23.5x19cm high and Gilt Frame 43x38cm  

GEORGES CROEGAERT - oil on canvas of still life peaches, together with framed and glazed watercolour

R Casper (British Contemporary) a pair, still life of fruit, oil on board, signed l l, in gilt gesso frames, 25cm x 20cm

R Casper (British Contemporary) still life of fruit and wine on a wooden table, oil on board, signed l l, in gilt gesso frames, 24cm x 19cm

A mid to late 20th century still-life of a vase with flowers by D. PerrySize: approx. 60cm  x 50cm

A large oil on canvas, furnishing picture of a still life scene, along with a gilt wall mirror