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Still life flower study, mid-20th century oil on board, unsigned, 50cm x 40cm, framedGood condition

Contemporary still life fruit, oil on canvas, unsigned, 55cm x 70cm, framedGood condition

Abstract still life, contemporary oil on board, unsigned, 45cm x 34cm, framedGood condition

Southey (Robert, poet and reviewer, 1774-1843) Autograph Letter signed to "Dear Sir" [the publishers John Murray or John Major], 2pp., 4to, Keswick, 21st March 1829, concerning his new edition of Bunyan's Pilgrim's Progress, explaining that he has begun "a careful collation of the text" with the aim of "as it will be the means of presenting the work in Bunyan's own vigorous vernacular English, which had been greatly corrupted in the easiest & worst of all ways, that of compositors & correctors following inadvertently their own mode of speech... These are minute pains, of which the public will know nothing, - but of which a few readers will feel the worth", and a related enquiry from the bookseller Thomas Rodd, "Mr. Rodd kindly offers some books in his possession; - if he still retains them there are two which I very much wish to see, The Pilgrim's Progress in Poesy from the Palace Beautiful to his meeting with faithful 1698, and a second part of the Progress, which is not Bunyan's, tipped on to an album leaf, folds, slightly offset on first page, slightly browned; and an engraved portrait of Southey, v.s., v.d. (2 pieces). *** Apparently unpublished. Southey's edition of Pilgrim's Progress was published in 1830, by John Murray and John Major. It has hitherto been assumed that Southey wrote only the introductory Life for the new edition, but this letter shows plainly that he extensively edited the text. Thomas Rodd the younger (1796-1849), bookseller.

Peter Stanaway (British 1943-) Still life Signed, acrylic on canvas board.39.5 x 29.5cm (framed 55.5 x 45.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

John Thompson (British 1924-2011) Floral still life Signed, mixed media.49.5 x 59cm (framed 61.5 x 70.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed and glazed. The frame has some minor scuffs and knocks commensurate with age.

Karel Lek M.B.E., R.Cam.A. (Belgian 1929-2020) "Kitchen Still Life" Signed within the plate, monoprint.23.5 x 31cm (framed 39.5 x 46cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The print is in good, original condition. The paper has browned slightly across the sheet and there are some spots of foxing. The print is framed and glazed behind perspex. The frame has some minor scuffs and knocks commensurate with age.

Steve Capper (British 1944-) "Still Life with Grapes" Signed, titled on verso, oil on canvas.28 x 28cm (framed 40.5 x 40.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

WILLIAM CHRISTIAN SYMONS (BRITISH, 1845-1911) (5)Still life with ceramic sheep, a blue and white dish and flowers signed 'W X Symons' (upper centre) watercolour and gouache on paper laid down on card 25.5 x 35cm together with: Still life with ceramics and a sewing machine, watercolour; Study of a rococo piano, pencil and watercolour; Study of andirons, ink and watercolour; and a study of fire irons, ink and watercolour, all by the same hand (5, all unframed) Provenance Property of the artist; Thence by family descent

HENRIETTE GEERTRUIDA KNIP (DUTCH, 1783-1842)Still life with tulips, viburnum, auriculas, hyacinths, bird's nests and brimstone butterflies signed and dated 'Henriette G Knip 1874' (lower right) watercolour 76 x 60.5cm Provenance Sale, Christie's, Paris, 16th December 2005, lot 220 The present work will be on view at Cromwell Place SW7 on 12th and 13th March 202492 x 76.5cm including frame.

Mary Dickinson (1873-1954), a framed oil on canvas floral still life, image size 398mm x 333mm

2 x oil paintings on canvas - contemporary still life frame 50cm x 48cm

* JOAN LAWSON, STILL LIFE OF APPLES oil on canvas, signedframedimage size 26cm x 31cm, overall size 45cm x 50cm

* PETER MCLAREN (SCOTTISH B.1964), STILL LIFE WITH POPPIES oil on board, signed and titled '91 versoframedimage size 64cm x 74cm, overall size 80cm x 90cm Exhibition label verso: Modern Masters, The Scottish Gallery 2013, EdinburghNote: Peter Mclaren was born in Edinburgh in 1964, he was schooled in Fife then studied at the Edinburgh College of Art. He won the John Kinross Scholarship, from the Royal Scottish Academy, which allowed him to study in Florence, and the Richard Ford Award, from the Royal Academy in London, to study the works in the Prado, Madrid. Early influences include the collection of Scottish Colourists and post war expressionist paintings from his home town of Kirkcaldy's Museum. As a student Mclaren travelled by bicycle to see collections in Amsterdam, Arnhem, Paris and London. Post-graduation, he won an Andrew Grant Scholarship which introduced him first hand to American art. Wyeth, Pollock, Lichtenstein and Warhol. In 1989 Mclaren won the inaugural British Airways Most Promising Artist Award. His work is held in many public and private collections.Condition of picture is good overall, with no visible or known issues.

* AUDREY JOHNSON (BRITISH 1919 - 2010), STILL LIFE IN JUG oil on board, signed and dated 1988framedimage size 23cm x 18cm, overall size 39cm x 34cm

* ETHEL WALKER (SCOTTISH b. 1941), STUDY IN WHITE NO. 36 oil on board, signed, titled label versoframed and under glass image size 68cm x 44cm, overall size 90cm x 66cm Exhibition label verso: The Contemporary Fine Art Gallery, EtonNote: 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 DAVIDSON (SCOTTISH b. 1955), BLUE DISH WITH APPLES gouache on paper, signed, titled label versoframed and under glassimage size 21cm x 21cm, overall size 36cm x 36cm Artist's label verso.Note: Mary was born in Dundee and lived in Australia for a few years as a child. She lived in Glasgow for 12 years from 1986 before moving to West Lothian in 1998. Mary studied at Glasgow School of Art and has been exhibiting regularly since 1994. Since then she has taken part in many exhibitions, to wide acclaim, on both sides of the Atlantic and now has works in numerous private collections in Britain and abroad. She is an artist member of the Glasgow Society of Women Artists and the Paisley Art Institute and regularly exhibits at the R.S.W., R.G.I. and Laing Art Exhibitions. Her paintings are also exhibited in prestigious art galleries around the UK. Mary works mainly in oil. She paints a range of subject matters in an expressive manner that captures light and colour. She is perhaps best known for her still life paintings. Her work is in numerous corporate, private and public collections including Vanity Fair in New York; the Duke of Bedford collection; Gray's School of Art, Aberdeen; East Dunbartonshire Council and Cala Homes.

* ALEXANDER ROBB (SCOTTISH b. 1950), POPPIES pastel on paper, initialled, titled versoframed and under glassimage size 80cm x 80cm, overall size 97cm x 97cm Note: Born in Kirkwall, Orkney, Scotland in 1950, Alexander Robb studied at the Glasgow School of Art between 1968 - 72.Since 1993, Alexander has tutored annual summer schools in Moffat and Dumfries. In 1998, he was invited to teach and show examples of his work in Red Deer College of Art and Design in Alberto, Canada. Alexander's subject matter for his work includes still life, landscape and portraits using a variety of media: oil, gouache, pastel and watercolour. Special emphasis is placed on strong tonal contrast and rich colour, which follows in the tradition of the Glasgow Boys and the Scottish Colourists. EXHIBITIONS INCLUDE: The Royal Scottish Academy (RSA), The Royal Scottish Society of Painters in Watercolours (RSW), The Royal Glasgow Institute (RGI), The Scottish Society of Artist and Artist Craftsmen (SAAC), Visual Arts Scotland (VAS). SOLO EXHIBITIONS INCLUDE: McGill Duncan Gallery, Castle Douglas, Ottersburn Gallery, Dumfries, Gracefield Arts Centre, Dumfries, SOLO/TWO MAN EXHIBITONS INCLUDE: Gatehouse Gallery, Glasgow, The Courtyard Gallery, Crail, Clachanmore Gallery, Stranraer, MIXED EXHIBITIONS INCLUDE:The Leith Gallery, Edinburgh, Frames Gallery, Perth, Catto Gallery, London, Eton Gallery, London, Thompson`s Galleries, London. Alexander Robb's work is held in numerous corporate, public and private collections including that of HRH The late Duke of Edinburgh.

* SIMON LAURIE RSW RGI (SCOTTISH b. 1964), UNTITLED acrylic on boardframed and under glassimage size 57cm x 62cm, overall size 79cm x 84cmNote: 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.

* GILLIAN GOODHEIR DA (SCOTTISH 1945 - 2022) SNOWDROPS AT THE EDGE OF THE WOOD gouache on paper, signed and dated '01mounted, framed and under glassimage size 31cm x 31cm, overall size 66cm x 66cm Note: Gillian Goodheir was one of Scotland's best-loved artists and a regular exhibitor at good galleries around Scotland and the North of England. She was born in Glasgow and studied at Glasgow School of Art, specialising in Drawing and Painting. She graduated in 1967 then took a Post Diploma. She then taught art in Glasgow but in 1975 she and her husband moved to mid-Argyll where she lived and worked. Gillian Goodheir's paintings reflect her surroundings, the ever-changing weather and light in the west of Scotland but also the south of France where she spent a lot of time, when she could. As well as landscape she excelled in Still Life, combining flowers, textiles and decorative objects. Her preferred medium was gouache which she handled in a fluid spontaneous style, capturing light and colour. Her work is in collections throughout the U.K. (including six works in the Permanent Collection of the Palace of Westminster, London) as well as in the U.S.A., Canada, Hong-Kong, Holland, France and New Zealand.

* ARCHIE FORREST RGI (SCOTTISH b. 1950), SYMPHONY oil on canvas, signed, titled label versoframed image size 121cm x 136cm, overall size 136cm x 152cm Exhibition label verso: December 1991, The Portland Gallery, London Note: Archie Forrest is considered to be the leading living Scottish Colourist artist of his generation. Born in Glasgow in 1950 he attended Glasgow School of art between 1969 and 1973 prior to becoming a tutor at the school for seven years. Forrest gave up teaching in 1985 to devote his time to being a full time artist. He was elected a member of the Glasgow Institute of Fine Arts in 1988 and is a regular exhibitor at the Royal Scottish Academy since 1975. The artist has won many prizes and collectors for his work throughout the world. In this "Symphony" Forrest demonstrates his ability to create texture and colour whilst capturing the viewers’ attention with his playful use of perspective and reflection. Forrest’s use of broad and angular marks is reminiscent of Cezanne, while the use of colour place him in the legacy of Scottish Colourists S J Peploe and Cadell. The artist uses his self-portrait to guide us through a variety of his work. Challenging the viewer to look closer for the still life, landscape and portraiture within the picture whilst creating reference to the great Scottish colourists Cadell and J D Fergusson in the portraits on his studio floor. Forrest has created a painting which demonstrates his artistic ability, but also one the viewer can revisit over and over again.

* DAN STEPHEN (SCOTTISH 1921 - 2014), CHIAROSCURO STILL LIFE oil on canvas, signed, titled label versoframedimage size 51cm x 51cm, overall size 68cm x 68cmHandwritten label verso

SCOTTISH SCHOOL, STILL LIFE WITH APPLES oil on board, signed 'Tobias'framedimage size 28cm x 23cm, overall size 48cm x 43cm

Ben Nicholson OM (British, 1894-1982) - A vintage early 21st century Tate Gallery, London poster for Ben Nicholson 1943-45 still life painting. 2001. Unframed. Measures approx. 60cm x 80cm. 

Dawn Sidoli NEAC (British, 1933-2022) - Dried Flowers and a Pewter Vase - 1992 - A late 20th century oil on board still life painting by Dawn Sidoli. The painting with original label from The Mall Galleries to verso. Signed and dated to bottom right. Framed. Measures approx. 62cm x 50cm unframed.

Janice Walton (British) - Untitled - Still life with statue head, a violin and a bow 2000 Oil on canvas painting. Signed bottom right. Framed. Measures approx. 86cm x 100cm (34" x 39.5") Janice Walton is a Devon based artist, trained at Dundee's Duncan of Jordanston College and at Edinburgh Art College. Her unique style has developed over the years, rich in atmosphere, merging imagination with reality. The work encapsulated in her website covers her up to the minute portrait / figurative, scenic, seascape, wildlife and commissions portfolio. Her commissions include a large six panel installation at the Burgh Island Hotel in Devon, a wonderful Art Deco Hotel. The Wildlife gallery is drawn from her South African experiences in game parks, where she spends part of the year painting and sketching. Her life and portrait work has evolved the human form using line supported by colour. The result is a fragmented image held together with accurate observation and true perspective. Janice's scenic and seascape work embraces new techniques and styles using oil on canvas and pastel on glass paper. Walton's work continues to "push the boundaries" as her work aims to create a vision beyond realism.  This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Nikolai Alexandrovich Issaïev (Russian Ukrainian/French, 1891 - 1977), Still life of a fish and vase, signed Issaïev (lower right), oil on canvas, 38 x 55 cm, framed 52 x 68.5 cmDonated to the Bertrand Russell Peace Foundation by the artist in the 1970s.

Johannes Hendrik Eversen (Dutch 1906 - 1995), Still life with pewter flagon, fruit, glass and bowl, signed and dated 'J H Eversen 1956' (lower right), oil on canvas, 41 x 61.5 cm, framed 61.5 x 81.5 cmFrom the Bunzl family collection

T.W. (English School, 20th century), Still life of a flask of red wine and glass, inscribed below 'T.W. Grainer To The Trade, London, 1954', oil on board, 49.5 x 39 cm, in a veneered frame 70.5 x 60 cm

Norah McGuinness HRHA (1901 - 1980) Interior with still life Watercolour, 46 x 38cm (18 x 15") Signed

Gerard Dillon (1916 - 1971) Masked Figure and Nude Oil on board, 86.5 x 122.5cm (34 x 48") Signed; also signed, inscribed with address '3 Greville Road, London', and title in the artist's hand versoSometime in 1967 Dillon joined a life drawing glass at the Sarah Siddons School, Paddington Institute in London and from that point onwards nudes became more prominent in his work. He often incorporated them into strange and dreamlike landscapes with Pierrot figures. Such as Red Nude with Loving Pierrot or Once Upon a Wavelength. While we may not consider this a nude in the traditional sense, the flesh tones replaced with a striped black and green body, it is still a distinct rendering of the female form. The work is highly graphic, emphasised by the sharp lines of Pierrot’s body, echoed in the flat rectangular bed on which the nude figure lies. It appears as if it is floating above a blue sea, which Dillon has painted loosely, with quick criss-crossing strokes of colour. The figure appears slightly afraid, as if she is a trying to break free of the striped ties of the bed that she is lying on. While above her an unusual arrow points down as if orientating the viewer within the composition.The masked Pierrots or clown figures were also a common trope in Dillon’s work from the mid 1960s onwards. As is well documented, the death of his brother Joe in 1962, to whom he was very attached, had a profound impact on Dillon. The idea of the clown representing a satirical sinister element, shown here with a coy smile upon its face, can be seen in other works from the period. Dillon acknowledged them in his work saying ‘I think it’s nature’s way of letting you know that you are on the way out’. (James White, Gerard Dillon: An Illustrated Biography, Dublin 1994, p. 90)The figure in this work, with the black mask and piercing green eyes, is very similar in style to those in Entertaining Friends, 1968, (Institute of Public Administration, Dublin). Three figures, whose bodies are decorated in leafy vegetation, sit in a circle before the kneeling white Pierrot. The work also employs the decorative use of stripes, in the cloth on the ground on which a tea party has been set and in the striking blue and green colour palette. It is often remarked of his Pierrot works, that Dillon was using them to represent himself within the paintings, allowing him to adopt a role without being immediately identifiable. Towards the end of his life, he took a more free and lyrical approach to his painted works, embracing the abstract and moving into an imagined world inhabited by his masked characters.Niamh Corcoran

Neil Shawcross (b.1940)Still Life Watercolour, 97 x 79cm (38¼ x 31")Signed

Patrick Hennessy RHA (1915-1980) Never Ending Summer Oil on canvas, 64 x 76cm (25¼ x 30") SignedExhibited: Ritchie Hendriks Gallery, Dublin. Original label verso In November 1964 at his annual exhibition at the Ritchie Hendriks Gallery, St. Stephens Green, Dublin,Patrick Hennessy exhibited 23 paintings with a broad spectrum of subject matter, the content of his travels from the previous year, the Irish countryside, still lives, rose studies, mementos from Spain, and a number of paintings of Moroccan objects and countryside, Morocco was becoming a greater part of Hennessy's life and he was spending up to six months of the year there, avoiding the Irish winters for health reasons.The painting 'The Never Ending Summer' a landscape is probably a view existing only in Hennessy's mind, a blue hazy sky, a dry arid vista with a high rocky mountain in the background dominating the centre of the canvas, a low shallow stretch of water clearly below normal level with sun bleached stones from the river bed completing the effect of a long dry period. The inclusion of a spray of brilliant red roses with luxuriant green foliage that dominate the foreground and contrasts sharply with the landscape is a Hennessy trademark and a device he used many times. The landscape has all the elements of a Hennessy capriccio.Kevin A. Ruttledge

Martin Mooney (b.1960) Still Life with Blue Patterned Jug Oil on board, 50 x 60cm (15¾ x 23¾") Signed with monogram; signed, inscribed and dated 2010 verso

Currier and Ives, United States. Hand-colored lithograph titled "Fruit and Flowers: Grapes, Peaches, and Roses," depicting a still life of fruit and flowers in a vase, 1870.Provenance: Distinguished Corporate Collection, Ohio.Literature: Gale Research Company, "Currier & Ives, A Catalogue Raisonne," Volume 1: A-N (Gale Research Company: Detroit, 1984). Number 2347, page 237.Currier and Ives was founded by Nathaniel Currier (American, 1813-1888) in 1835 as "the Grand Central Depot for Cheap and Popular Prints," but changed its name with the addition of James Merritt Ives (American, 1824-1895) in 1857. The company created over 7000 popular lithographs depicting American life until 1907.Image; height: 11 7/8 in x width: 8 5/8 in. Margins; top: 1 3/4 in x bottom: 1 7/8 in x left: 1 1/2 in x right: 1 1/2 in. Sheet; height: 15 1/2 in x width: 12 in.Condition:The sheet is toned. There is a small tear along the lower left edge. A few small chips/frits along the edges, mostly contained to the lower edge. Some soiling throughout. Some light wear along the rest of the edges. Soiling to the verso. There are four pieces of tape along the verso along the upper left and right corners. The work is not framed. No signs of restoration when viewed under UV light.

Maud Frances Eyston Sumner (South African, 1902-1985)Still life signed and dated 'SUMNER 45' (lower left) oil on board51 x 64cm (20 1/16 x 25 3/16in).(framed)Footnotes:ProvenanceA private collection, South Africa.Frequently returning to still life paintings throughout her career, Maud Sumner would regularly incorporate vases of flowers, fruit, and elements indicating her presence, such as her hat resting on the table in this case. Always with a view to exemplify the freeness of nature, this present work displays a carefree and casual scene. The present work was completed after Sumner had returned to South Africa, having lived and worked for many years in England and France. The artist began to embark on more abstract scenes in the 1940s, later in her career, making still life paintings such as the present work comparatively rarer in her artistic oeuvre.BibliographyC. Eglington, Maud Sumner, (Cape Town, 1967).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

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with carafe, pots, bowls and oranges, undated [circa early 1950s], oil on canvas, signed 'Norland' lower centre, untitled, with various numbers to stretchers, 61cm x 51cm, unframed. Note: Selected for the Brno & Regensburg retrospective, 2001, but not listed in the catalogue; with Museum Ostdeutsche Galerie label verso. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with wine bottles, undated, oil on canvas, signed 'Ernest Neuschul' lower left, untitled, with various numbers to stretchers, 60cm x 44.5cm, framed. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with animal skull and potted plant, undated [circa mid 1950s], oil on canvas, signed 'EN' lower right, untitled, 50cm x 65cm, in a simple studio frame. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with vase of white flowers, undated [circa early 1946-47], oil on canvas, signed 'Norland' lower right, untitled, 79cm x 66.5cm, unframed. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with fruit and vegetables, undated, oil on canvas, signed 'EN' lower left, untitled, with various numbers to stretchers, 60cm x 73cm, unframed. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with coffee pot and yellow flowers, circa 1946-47, oil on canvas, signed 'E. Neuschul' lower left, indistinctly titled and dated to stretcher, numbered 'F 36' to stretcher, 73.5cm x 61cm, framed. Note: Selected for the Leicestershire Museum & Art Gallery retrospective exhibition, 1988, Catalogue no.30, with label verso; selected for the Brno & Regensburg retrospective, 2001, but not listed in the catalogue, with Museum Ostdeutsche Galerie label verso. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

ERNEST NEUSCHUL (CZECH, 1895-1968) Still life with chair and bottle, undated, oil on canvas, signed 'E. Norland' lower left, untitled, 76cm x 63cm, unframed. Note: Selected for the Brno & Regensburg retrospective, 2001, but not listed in the catalogue; with Museum Ostdeutsche Galerie label verso. Provenance: The family of the artist, by direct descent. *This lot may be subject to Droit de Suite (Artists Resale Right).

Thomson (James) The Seasons, color-printed stipple- and line-engraved frontispiece, 11 plates and 9 illustrations by F. Bartolozzi and P.W. Tomkins after W. Hamilton, plates all neatly trimmed and laid down on thick paper with gilt ruled border, occasional faint offsetting, text with Whatman 1794 watermark, contemporary red morocco gilt by Baker & Son, Clifton, spine gilt in compartments, a little rubbed, a few neat repairs to extremities, g.e., [Bobins 1473; cf. Abbey, Life 252 (1797 edition)], 4to, by T. Bensley, Bolt Court, for Longman Hurst, Rees, and Orme, Paternoster Row, 1807. *** Rare colour-printed deluxe edition, Abbey records that of the 1797 edition, the number of coloured copies "would not have exceeded seven or eight", these deluxe coloured issues of the 1807 edition are seemingly rarer still, we have been unable to trace any examples appearing at auction.

Mary Fedden R.A. (British, 1915-2012)Still Life signed and dated 'Fedden 1948' (lower left)oil on board76 x 51cm (29 15/16 x 20 1/16in).Footnotes:Provenance Private Collection, Canada, by 1975This 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

David Breuer-Weil (British, born 1965)Still Life signed, dated and dedicated 'TO BOO/David Weil 87' (lower left)acrylic on board100 x 82.5cm (39 3/8 x 32 1/2in).Footnotes:ProvenanceThe Artist, by whom gifted to the present ownerPrivate 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

Edward Le Bas (British, 1904-1966)Still Life with Lemons, Pears and Coffee Pot signed 'E le Bas' (lower right)oil on board42 x 59cm (16 9/16 x 23 1/4in).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

Keith Vaughan (British, 1912-1977)Farm Land stamped with estate stamp 'K.V.' (on sheet verso)pencil on paper20 x 25.5cm (7 7/8 x 10 1/16in).Executed circa 1955Footnotes:ProvenanceWith Anthony Hepworth Fine Art, London, 19 March 2015, where acquired by the present owner Private Collection, U.K.Vaughan made many drawings throughout his career, life drawings, drawings for paintings, compositional studies, erotic images (which he called his 'Grafitti [sic] Drawings'), sketches made 'in situ', and fully finished presentation drawings which he called 'table drawings'. Early on he evolved a habit of carrying around small notebooks and sketch books in which to jot down visual information and motifs which caught his eye or which he thought might be useful in terms of his painting. The present work is one such drawing, probably made on a walk, or sitting in his car. In an interview in 1962 he discussed what he considered his approach to drawing and painting:'I make drawings from life. I also make drawings for developing ideas. The activity of drawing with me is now entirely independent of the activity of painting. I don't find that I can make preparatory drawings. I think partly because if you make preparatory drawings, then you never really get involved with the actual working out of the problem in terms of the painting. You tend to refer to the drawing for the solution to a problem which concerns the painting and this always leads you down the wrong track because you are trying to reproduce something you have done in the drawing. And so, though I still do a lot of drawings, they are an entirely independent activity. The thing about drawing is that it requires no special situation and the interruption between the activity of the imagination and the act of drawing is at a minimum. It is the nearest possible extension to one's natural faculties. You can draw anywhere; you can draw in the open, in the back of a car, in bed or in an armchair. You can't paint like that. Painting is a dress parade affair. You have got to be standing up in a particular place in a certain light and you have got to have both your hands free to manipulate a considerable quantity of equipment.'(Anthony Carter Interviews Keith Vaughan, BBC Transmission, broadcast unknown. Transcript, 1962) We are grateful to Gerard Hastings for compiling this catalogue entry.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 Bramham (British, 1952)Small Still Life on a Round Table signed and dated 'C Bramham/2011' (on canvas verso)oil on canvas33 x 24cm (13 x 9 7/16in).Footnotes:Provenance Jonathan Clark & Co, London, where acquired by the present ownerPrivate CollectionThis 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

Registration No: GSK 308 Frame No: GA10 497 Engine No: DA10R 8835* CC: 650 MOT: ExemptFull width 190mm front brake with F/R alloy rimsFitted with a 120mph speedo and a 8K tachometerOn Manx registration number but supplied with a V5 for 'GSK 30The Birmingham Small Arms factory was established in the Small Heath area of Birmingham 1861 and as the name suggests manufactured weapons. Around the turn of the century they started making bicycles and progressed onto motorcycles a few years later. BSA went on to be one of the world's largest producers of motorcycles up until its demise in the early 1970s. Probably the most sought after models produced by BSA are the Gold Star range of 350 and 500cc singles of the late '50s early '60s and the rare Rocket Gold Star 650 twin.This BSA has spent the last 12 years on the Isle of Man in a small private collection, only being sold to make room for other projects. It is currently on a Manx reg. no. 'KMN 828W' but will be supplied with a V5 registration document showing its original UK number of 'GSK 308' which still shows up on DVLAs website. Presented in Clubmans trim including 190mm full width front brake, clip ons, rear set footrest and alloy rims front and rear. Restored in the early 1990s by marque expert John Gleed Vintage and Classic Motorcycles, it has not been run for a number of years so will need recommissioning before use. It comes supplied with a few old MOTs and both the Isle of Man MVR6 Registration Certificate for 'KMN 828W' and the UK V5 Document showing 'GSK 308'.*Please Note: Whilst this lot appears to be a genuine Rocket Gold Star in terms of its frame number and other checks, its ‘matching’ engine number has been stamped into the crankcases using a method and style that are not factory correct. As such, it seems probable that the BSA features, at the very least, replacement crankcases if not a substitute powerplant. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415871189 This BSA has spent the last 12 years on the Isle of Man in a small private collection, only being sold to make room for other projects. It is currently on a Manx reg. no. 'KMN 828W' but will be supplied with a V5 registration document showing its original UK number of 'GSK 308' which still shows up on DVLAs website. Presented in Clubmans trim including 190mm full width front brake, clip-ons, rear set footrest and alloy rims front and rear. Restored in the early 1990s by marque expert John Gleed Vintage and Classic Motorcycles, it has not been run for a number of years so will need recommissioning before use. It comes supplied with a few old MOTs and both the Isle of Man MVR6 Registration Certificate for 'KMN 828W' and the UK V5 Document showing 'GSK 308'.*Please note :- Whilst the chassis number and all the normal checks suggest this is a genuine RGS, the engine number appears to have been restamped with the correct number for the frame at some stage in its life. This could be down to simply needing some replacement cases after an engine problem. Please be aware of this before bidding.

Registration No: GGW 867N Frame No: 762C 413897 Engine No: 762M 413954 CC: 125 MOT: ExemptOriginal all over including paint Full known history and only 1 owner from newBritish registered from new on 1st October 1974V5C present for use on UK roads We use the word rare quite a lot at the H & H Vintage Scooter Auction because that is what we specialise in. However, the word cannot be over emphasised here. The question is when is a 125 Super not a 125 Super? After a call from the client we expect a large bodied Italian made machine with 8 inch wheels and not that exciting. The specimen we are presented with is the ultra rare SU66 only imported into the UK in small numbers from Spain to alleviate a temporary supply problem caused by industrial action in Italy. Motovespa from Ciudad, near Madrid had been manufacturing Vespas under license since 1956 broadly manufacturing models in line with the Italian ranges using many Italian parts and the same paint codes. The SU66 125 Super with the prefix 762 was most similar to the Italian Primavera 125 but with notable differences. The scooter had a large glove box on the inside of the leg shields and a striking spare wheel assembly around the rear light. The exhaust tailpipe also came out of the opposite side to the Italian Primavera. The UK imported versions were the only models that had a Veglia Bressel MPH speedometer. They were also made famous as the Texaco 'Tourist pilot'.Here we present an astonishing original example. It was bought for our client by his father as a surprise gift brand new from Mike Duffy Motorcycles of Sidcup Road, Eltham. The scooter was intended to help him get to college although it was used rather seldomly and has only amassed a total of 3911 miles in its life. The original old blue type log book confirms it was bought brand new and first registered on 1st October 1974. It was last used in 1977 by our client and according to him it has followed him ever since always garage stored and unused.All over the scooter we can see complete originality and the paint has no touch ups anywhere that we could see. There are no holes cut for crash bars. The engine is unmodified, the seat is the original. Full original keys are present. This exceptional Vespa is still on its original tyres. No effort was made to start the scooter at the time of consignment. This is a very rare opportunity to buy, quite possibly the best original SU66 that we or you will see for a very long time, in this condition. For more information, please contact: Paul Diamond info@vintagescooters.co.uk 07768 313001

Registration No: 547 CHA Frame No: RS6865 Engine No: VM 5529 CC: 500 MOT: ExemptRestored to a good standardUsed since its completion and enjoyedOld MOT certificates and V5C on fileVelocette, while small, was a great technical innovator and many of its patented designs are commonplace on motorcycles today including the positive-stop foot shift and swinging arm rear suspension with hydraulic dampers. Renowned for the quality of its products, the company was "always in the picture" in international motorcycle racing from the mid-1920s through to the 1950s, culminating in two 350cc World Championship titles and its legendary, and still-unbeaten, record of averaging over 100mph for 24 hours on a 500cc single cylinder machine. This was achieved on a Venom in 1961 cementing its reputation as one of the best sports bikes of its day.This nicely presented 1957 Venom has been part of an enthusiast’s small private collection. Purchased as a restored machine a few years ago it’s a machine that has offered enjoyment and use since in the vendor's ownership. The vendor has stated that the machine ‘runs well’ and has never let him down on many events and runs that he has attended. It has been fitted with a clubman tank during its life, apart from that it retains many original features. Offered with a current V5C and some old MOT certificates. For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217

Registration No: Unregistered Frame No: 5JD 19623 Engine No: 5JD 19623 CC: 150 MOT: ExemptThe Sportique Supreme is one of the rarest British built Vespa Douglas modelsOne of the last ever models produced by Douglas in BristolOriginal paint under the overpaintOriginal matching numbersOriginal Green logbook for simple UK registrationThe first time a Vespa was seen in Great Britain was on the Douglas stand at the 1949 Motor Cycle Show. The scooter was discovered by Douglas managing Director Claude McCormack when the struggling company was in the hands of the official receiver. The Vespa presented itself as a solution to the companies problems and a deal was made with Piaggio to begin production of the Vespa under licence in Britain starting with the ‘Rod model’ launched in March 1951. Piaggio soon regretted this decision and consequently Douglas under-performed and was several years behind the Italian models until the late 1950’s when parity was almost made. The result in today’s international collectors market is that British built Douglas Vespas have in recent times emerged with a special rarity status.The Supreme was one of three special edition Sportiques made by Douglas in Bristol. The Sportique itself was almost identical to the Piaggio VBB with a reliable 150cc motor using many Piaggio supplied Italian parts and sporting an attractive GS style clam shaped 60 MPH speedometer. The ‘Grand Luxe’ ‘Grand Tourer’ and ‘Supreme’ were all unique designs built from 1962 to 1965. The Supreme was supplied in bespoke silver paint with chrome side panels and front mudguard from new in keeping with the ‘Mod’ demand at the time.This Supreme was originally registered in Taunton, Somerset on 20th April 1964. A new keeper in 1974 a Thomas Cole from Bath and then a John Lewis of Radstock. It has obviously been overpainted but some effort has been made to reveal the original paint and this could be continued. The result could potentially be a unique patina. The chrome panels are still showing some chrome evidence and a similar outcome could be achieved. It is evident that the scooter has had a sidecar fitted in its life and the top fitting bracket is still attached. There is one hole in the floor where the lower sidecar bracket would have been. Other than that it is very solid generally all over. There is a high level of originality including: Douglas D handgrips, original speedometer, lights are original, seat and badges. The front Douglas badge is also original and just needs the remaining overpaint scraped off. The cylinder head and exhaust are missing however there are some parts supplied and replacement parts for these engines are not difficult to source. This is an extremely worthwhile project and a very rare machine. For more information, please contact: Paul Diamond info@vintagescooters.co.uk 07768 313001

Ephraim Strellet (1906-1939) - The Dragon tea pot, still life oil painting, bowls of apples with a teapot and decanter, oil board, signed lower right, artists label to verso, 47x56, gilt frameLocation:

A mixed lot of framed and unframed pictures to include a still life of a vase of flowers signed ABBEE, oil on board and othersLocation:G

Jill James - two still life watercolours, 72cm x 53cm approx, Jean-Pierre Cassigneul - portrait signed limited edition print and a Japanese paintingsLocation:

MSP Coastal scene with beach coves, pencil drawing, artists monogram to lower right corner, 31x39.5cm mounted in glazed frame, and a late Victorian / early 20th century still life watercolour of an 18th century Chinese meat platter, tumbler vase of yellow flowers and a knife, unsigned 28x20cm, mounted in a glazed frame.Location:

Roy Manby (20th Century School) two still life 'Vase of flowers' studies, one signed and dated 1966 lower left, 17.5cm x 13.5cm and one other by the same artist, unsigned, 18cm x 14cm (2)Provenance: Has come via direct descent. We also have ceramic pieces by the artist's mother later in this sale. Overall display and age related wear. Minor scuffs to the frames, otherwise seems ok.

Brown (20th Century School) 'Still life vase of flowers', oil on panel, signed and dated 1940 lower left, 17.5cm x 17.5cm Dust, dirt, scratches and overall display wear. Panel to the back of the frame has split. Overall wear consistent with age and use.

20th Century School'Impressionist-style floral still life', oil on board, indistinctly signed to the lower right and to the verso, indistinctly titled to the verso, 54cm x 43cm The back of the frame with pins inserted. Tape attached to the back of the frame. With signs of wear consistent with age and use. Small hole to the front of the frame with staining around.