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Lot 14

Claude Joseph Fraichot (Besançon 1732-1803)A still life with cabbages, a pie, and various faience and glass objects on a tabletop oil on canvas, unlined79 x 103.5cm (31 1/8 x 40 3/4in).Footnotes:ProvenanceSale, Sotheby's, Paris, 26 June 2019, lot 105A similar version of the present composition, with a few differences, is in a private Swiss collection (see: M. and F. Faré, La vie silencieuse en France, Fribourg, 1976, p. 343. reproduced fig. 566).For further information on this lot please visit Bonhams.com

Lot 153

C.L Braun (active Germany, 18th Century)A table top still life with dead birds oil on canvas64.8 x 84.2cm (25 1/2 x 33 1/8in).For further information on this lot please visit Bonhams.com

Lot 57

Gerard Rysbraeck (Antwerp 1696-1773)A still life of a dead hare and game before a landscape signed '.g. Rijsbrack.'(lower centre)oil on canvas64 x 84.5cm (25 3/16 x 33 1/4in).Footnotes:ProvenanceSale, Christie's, South Kensington, 26 September 1996, lot 224For further information on this lot please visit Bonhams.com

Lot 388

Follower of Roy Barley: oil on board, still life of coffee pot tumbler and garlic, 11 1/2" x 15 1/2", in deep gilt frame

Lot 103

Francis Newton Souza (India, 1924-2002)Untitled 'Still Life', 1969, mixed media, chemical drawing on paper, signed and dated to upper margin 'Souza 1969' and further signed in ink to lower margin 'Souza, 1969', framed and mounted,overall 37 x 29.5cm, within frame 25.5 x 18cm Condition: Overall condition good - Unexamined out of frame, some fading to signature on lower margin. This work was a gift from Souza - thence by descent.

Lot 96

Raymond Campbell (British, b. 1956)'Still Life with Basket of White Grapes, Apples and Plums', oil on board, signed lower left, framed, frame labelled verso,overall 33.2cm x 38.25cm, within 19.5cm x 24.25cm Condition: Good overall condition - some thickness/ possible overpainting to oil on grape vine, two vertical panel lines visible.

Lot 25

Indistinctly signed oil on canvas, still life 42 x 54cm

Lot 472A

Thomas Todd Blaylock (20thC School). Daffodils, still life, oil, 28cm x 28cm, framed and glazed.

Lot 473

A pair of Victorian reverse painted glass panel pictures, each oval with floral still life, in ornate gilt frames, 46cm x 36cm. (AF)

Lot 473A

Thomas Todd Blaylock (20thC School). King Cups, Daffodil still life, oil, 28cm x 28cm, framed and glazed.

Lot 486A

Valerie Cerno, still life basket of flowers, oil on board and Hans Pawlitschek (1909-1972) bluebells and daffodils, oil on board, each in ornate frame, 12cm x 14cm and 14.5cm x 11.5cm. (2)

Lot 2153

An early 20th century mahogany framed fire screen, the tapestry inset panel with still life decoration flowers in a vase, overall 108 x 55cm.

Lot 16

‘This escape at a time when the entrenchment was closely invested by a large army and communication, even through the medium of natives, was almost impossible, is, in Sir Colin Campbell’s opinion, one of the most daring feats ever attempted, and the result was most beneficial’ (Commander-in-Chief’s Despatch to the Government of India) ‘I resolved to die in the struggle rather than survive it with no better fame than I took into it.’ (How I won the Victoria Cross by T. Henry Kavanagh V.C.) The famous Indian Mutiny ‘Siege of Lucknow’ V.C. awarded to Mr. Thomas Henry Kavanagh, Bengal Uncovenanted Civil Service Serving under the orders of Lieutenant-General Sir James Outram in Lucknow, Kavanagh was decorated with the highest honour for undertaking an epic quest to escape the surrounded Residency at night, cross enemy lines, make contact with the camp of the Commander-in Chief, and then using his local knowledge, guide the relieving force through the city to the beleaguered garrison by the safest route. Conceiving the plan himself, Mr Kavanagh, an Irishman employed as a clerk in the Lucknow Office prior to the Siege, volunteered to leave the safety of the Residency disguised as a Sepoy irregular soldier, accompanied by a Brahmin scout. The pair jostled past armed rebels through the narrow Lucknow streets, talked their way past sentries in the moonlight, forded deep rivers, tramped through swamps and narrowly avoided capture after startling a farmer who raised the alarm. On finally reaching a British cavalry outpost, Kavanagh delivered Outram’s vital despatch to Sir Colin Campbell and ably guided his column to the relief of the Residency garrison. The first of just five civilians to have been awarded the V.C., he was further rewarded with promotion to the gazetted post of Assistant Commissioner of Oude and was presented with his cross by Queen Victoria in a special ceremony at Windsor Castle. A tour of England and Ireland further enhanced his celebrity whilst the publication of his account of the Siege, ‘How I won the Victoria Cross’ and Louis William Desanges’ painting of him donning his Indian disguise - one of the truly iconic images of the Defence of Lucknow – ensured that he became a Victorian legend, indeed few histories of the conflict are without an image of ‘Lucknow Kavanagh’ Victoria Cross, reverse of suspension bar engraved ‘Thos. H. Kavanagh Esqr. Asst. Commr. in Oude’, reverse of cross engraved ‘8 Novr. 1857’, the Cross retaining much original patina, good very fine or better £300,000-£400,000 --- V.C. London Gazette 6 July 1859: ‘Thomas Henry Kavanagh, Assistant Commissioner in Oudh, Bengal Civil Service. Date of act of bravery: 8th* November, 1857. On the 8th* November 1857, Mr. Kavanagh, then serving under the orders of Lieut.-General Sir James Outram in Lucknow, volunteered on the dangerous duty of proceeding through the city to the camp of the Commander in Chief for the purpose of guiding the relieving force to the beleaguered garrison in the Residency - a task which he performed with the most chivalrous gallantry and devotion.’ *this was corrected to 9th November 1857 in the London Gazette, 8 July 1859. Thomas Henry Kavanagh was born on 15 July 1821 in Mullingar, Co. Westmeath and was educated in Ireland. His father was the Bandmaster of the 3rd Foot (Buffs), but little else is known about his early life. When still in his teens he entered the Indian Uncovenanted Civil Service in the Office of the Commissioner of Meerut and in 1849 was posted to Oudh with Sir Henry Lawrence, becoming a member of the Punjab Commission. Kavanagh went on to Lucknow with Lawrence and was a clerk there in one of the civil offices at the time of the Indian Mutiny. His wife and four eldest children (ultimately they had fourteen children) were fortunate to be also in the Residency at that time although his wife was wounded by a shell during the siege and his youngest child died in the Residency as a baby. Still, in his diary Kavanagh gave thanks for their deliverance from the atrocities further south: ‘My family were staying in Cawnpore, and it was arranged they should spend the summer there with some friends, as houses were difficult to get in Lucknow then; but providence willed that my wife should differ with some people under the same roof, and she at once came to me at Lucknow. Thank God she did.’ The Residency at Lucknow was besieged from 30 June 1857 and Generals Outram and Havelock, with over 2000 troops, had fought their way through the city on 26 September intending to rescue the garrison and return to Cawnpore but they too were surrounded and obliged to defend themselves in places adjoining the Residency Entrenchment. During the first months of the siege, like many non-combatant civil service men, Kavanagh was fully engaged in the resistance, leading a group of fellow civil service volunteers as a mobile reserve around the most embattled parts of the fortifications, manning field mortars and counter-tunnelling against bomb attempts by the rebels. However, the situation at Lucknow had become critical by November and realizing that the chances of the second relief force coming up from Cawnpore under Sir Colin Campbell would be greatly enhanced if they had a guide who knew the environs of the city well, Kavanagh saw his chance for glory and planned to volunteer to go out and bring them in. Having learnt that a spy had come in from Cawnpore and that he was returning in the night as far as Alumbagh with despatches to Sir Colin Campbell, he sought out the man and told him his desire to accompany him in disguise: ‘He hesitated a great deal at acting as my guide, but made no attempt to exaggerate the dangers of the road. He merely urged that there was more chance of detection by our going together and proposed that we should take different roads and meet outside of the city, to which I objected.’ (How I won the Victoria Cross by T. Henry Kavanagh refers). Kavanagh was not to be deterred. That afternoon he volunteered his services through his immediate chief, Colonel Napier. Both Sir James Outram and Napier, the Chief Engineer, were against the hazardous enterprise initially. As Kavanagh was a tall man, with fair hair and blue eyes, the matter of his appearance was of particular difficulty, but Kavanagh persisted and Outram finally consented to the plan. Kavanagh returned to his quarters: ‘I lay down on my bed with my back towards my wife, who was giving her children the poor dinner to which they were reduced, and endeavouring to silence their repeated requests for more. I dared not face her; for her keen eye and fond heart would have immediately detected that I was in deep thought and agitated. She called me to partake, of a coarse cake, but, as I could no more have eaten it than have eaten herself, I pleaded fatigue and sleepiness, and begged to be let alone. Of all the trials I ever endured this was the worst. At six o’clock I kissed the family and left, pretending that I was for duty at the mines, and that I might be detained till late in the morning.’ Kavanagh proceeded to a small room in the slaughter-yard where he disguised himself as a budmash or swashbuckler, with sword and shield, native made shoes, tight trousers, a yellow silk koortah (or jacket) over a tight-fitting white muslin shirt, ‘a yellow-coloured chintz sheet thrown round my shoulders, a cream-coloured turban, and a white waistband or kumurbund. My face down to the shoulders, and my hands to the wrists were coloured with lamp black, the cork used being dipped in oil to cause the colour to adhere a little.’ Thus attir...

Lot 323

A well-documented Northern Ireland M.I.D. campaign group of four awarded to Colour Sergeant I. Missenden, Duke of Edinburgh’s Royal Regiment and the Force Research Unit (FRU), who carried out 6 tours of Northern Ireland - suffering a gunshot wound as an 18 year old infantryman during his first, and going on to distinguish himself in an intelligence capacity as an ‘agent handler’ whilst serving with West Det (FRU), St. Angelo, Fermanagh. His tours spanned 20 years, and during that time Missenden was involved in multiple contacts with the IRA, becoming intimate with their methods, capturing gunmen and being on the receiving end of ambushes and mortar attack General Service 1962-2007, 1 clasp, Northern Ireland, with M.I.D. oak leaf (24312535 Pte I Missenden DERR); U.N. Medal, on UNFICYP ribbon; Accumulated Campaign Service Medal 1994, E.II.R., with Additional Award Bar (24312535 Sgt I Missenden DERR); Army L.S. & G.C., E.II.R., 2nd issue, Regular Army (24312535 SSgt I Missenden DERR) good very fine (4) £4,000-£6,000 --- M.I.D. London Gazette 11 October 1988. Ian Missenden was born in British Military Hospital at Iserlohn, Germany in November 1955. The following extracts are taken from an extensive autobiographical account provided by the recipient of his service career: ‘I... enlisted in the 1st Battalion the Duke of Edinburgh’s Royal Regiment in Bristol in November 1972 at the age of 17. On completion of training at the depot Exeter I joined my regiment in Berlin, who were then preparing for an 18 month tour of Northern Ireland. Not being old enough to deploy with the regiment, I was attached to The Devon and Dorset Regiment until my 18th birthday, I then rejoined the regiment in Ballykinler, Northern Ireland. The regiment’s role as province reserve was to re-enforce other units province-wide. First Tour of Northern Ireland: November 1973 - January 1975 On arriving in Northern Ireland I joined 10 Platoon, D Company as a rifleman. During the tour we (the platoon) deployed to Aughnacloy, Belfast, Bessbrook, Sion Mills, Newry and Crossmaglen. The duties of the platoon, included foot patrols, vehicle checkpoints, searches and boat patrols with the Royal Navy on Carlingford Lough conducting stop and search operations on boats crossing the border. In June 1974 my platoon (10 Platoon) deployed to Newry to assist a battery from 7 Royal Horse Artillery (7 RHA Para) with their workload. On Thursday 27th June I was a member of a mobile patrol who went to assist the RUC in crowd control at a factory dispute when the patrol came under fire in an IRA ambush where I received a gunshot wound to the back. The bullet entered my back, punctured my lung and exited my chest. After 6 weeks in the hospital I had made a full recovery and was discharged for 4 weeks sick leave before returning to my unit... Shooting Incident Newry 1974 On Thursday 27th June my section was the QRF, providing assistance for foot patrols and RUC. It was a busy day, we had been in and out on various tasks non-stop. At about 1900hrs, having just returned from a task, we were having a meal in the cookhouse when the tannoy came to life: “QRF commander to ops room.” The section loaded weapons and waited by the landrovers for Steve, the section commander, to return to brief us on the task. The RUC needed assistance with an angry crowd involved in a dispute at a factory on the Warrenpoint road, which was situated on the other side of Newry. I was with Gerry in the back of the lead vehicle. The vehicles stopped on the Warrenpoint road in a position overlooking the factory with the angry crowd, which stood 50 metres away. On the order ‘debus’ the section took up positions on the bank of the canal, while Steve assessed the situation. A few minutes later the shout to “Mount Up” came. The vehicle had barely moved when several things happened simultaneously; I felt a great slap on my back, putting me face down in the vehicle; the vehicle stopping abruptly; the sound of incoming fire; Gerry jumping over me and out of the vehicle in the direction of the firers. I could hear bullets zipping overhead as I picked myself up and grabbed my rifle, which I must have dropped when I received the ‘slap.’ That’s when I noticed the blood where I had been laying, which hadn’t been there before. Meanwhile the fire fight and shouting continued. I didn’t feel like I’d been shot as there was no pain but I thought the blood was mine, after checking my chest I confirmed it was! There was a hole with blood seeping from it, right where I thought my heart should be, and that’s when the pain kicked in. While I was still trying to believe what had happened, the shooting and noise ceased. Whilst carrying out a head check, it was discovered I was missing. Gerry found me and I was added to the contact report: one casualty, gunshot wound. Steve was told to take me directly to the helicopter landing zone (LZ) situated about 100 metres from our base, the other side of Newry.... On arriving at the LZ the battery medic took over and I was placed on a stretcher, and he applied field dressings to entry and exit wounds; I knew I had a punctured lung from the bubbles in the blood around the exit wound. Within a few minutes I was loaded into a helicopter, accompanied by the medic and on the way to Musgrave Park Hospital, Belfast. By the time the helicopter landed at MPH it was dark and I was in a lot of pain, and having problems breathing due to a punctured lung. If it wasn’t for the medic I would have probably given up, I just wanted to close my eyes and sleep, even though I knew it could be the end for me... Before 7 RHA left the province, the OC, BSM and the medic who took me to MPH visited me and told me what happened after I left for the hospital. Over a dozen suspects were arrested, six were detained by the Special Branch. Empty cases found at the firing point were from a Garrand and M1 carbine. I’d been hit by a round from an M1 carbine. The round had gone through my flack jacket, body and through the flack jacket on its way out, before losing power and dropping into the outer lining of the flack jacket... the exit wound was three inches long... Before leaving the province I was involved in and witnessed several other terrorist incidents.’ The other ‘incidents’ alluded to above included the Long Kesh Riot in October 1974, the Sandes Cafe bomb at Ballykinler, 28 October 1974, and an ambush at a farm in Ballsmill in November of the same year: Ballsmill Incident 1974 Information was received via the confidential tip line, that there was a weapons hide in an unused farm complex on the border at Ballsmill. A search was planned for early the following morning. The Royal Engineer Search Team (REST) would conduct the search and the platoon would provide the cordon. I was chosen to be the radio operator and part of a four man team led by the platoon commander, and tasked to insert that night and watch over the complex. The rest of the platoon were flying in at daybreak to set up the cordon and the REST (9 Sqn RE) shortly afterwards. A chopper dropped the team a few miles out from the target, and we walked the rest of the way. High ground to the north of the farm complex was ideal for the job. We set up in a hedgerow 50 metres from the target and we settled into our position for the night. The border, a hedgerow, lay 70 metres to our left, ran parallel past the farm complex and continued uphill for approximately 175 metres, then turned sharp right and out of view. Two sides of the complex faced the border. Before first light the team moved cautiously down the hill to the complex; which was a series of stone buildings surround a courtyard. T...

Lot 371

The Crimea campaign medal to Lieutenant-Colonel Thomas Shadforth, 57th Regiment, who was killed in action in the First Attack on the Redan, at the head of his regiment leading the “Forlorn Hope”; his father had commanded the 57th at Albuhera, where he fell wounded Crimea 1854-56, 1 clasp, Sebastopol (Lieut. Col. T. Shadforth. 57th Regt.) officially impressed naming, with original frayed ribbon, a few marks but generally good very fine £2,000-£2,400 --- The assault on 18 June, 1855, was initially led by Major General Sir John Campbell, 2nd Bart, temp. Commander of the 4th Division. Hearing that elements of his 4th (including the 57th Regiment) were to take part in the assault, he dismissed his A.D.C.'s and led the assault from the trenches only to fall killed after a few paces. Command of the left column of assault therefore fell to Shadforth almost immediately, Shadforth himself had barely time to give the order: 'Colonel Warre, you mind the right, I will take the left, and Major Inglis the centre', when he too fell shot dead. Sergeant-Major G. Cumming, 57th Regiment, in a poignant letter to the Colonel’s widow stated (Reading Mercury, 18 August 1855): ‘He was our father and friend, and watched over the Regiment and its wants in a manner that gained for him the adoration of his men; and never did I see a more genuine grief among a body of men than that seen in the 57th Regiment. The poor old Colonel and the memory of his many acts of kindness, of his unflinching courage at the head of his own “Die-Hards”. His glorious death will long be a theme in the 57th Regiment. Such are the feelings of the Regiment - they have lost their best friend; but I have lost, if possible, more than any of them, for I never experienced such kindness as he invariably showed to me and my welfare. He lost no opportunity in advancing me in my profession and not only did he look after my temporal but my spiritual welfare; and if ever a man died a Christian he did. I spoke to him a few minutes before he fell; the last words I heard him say were “Now, Colonel Ware, you mind the right, I will take the left, and Major Inglis the centre.” This was said amid a shower of missiles of every kind, and he was then as cool and collected as if on parade. Poor Colonel! It was the last order I heard him give, and the last time I saw him alive. He could not have suffered much pain from the nature of his wound.’ Thomas Shadforth was the second son of Lieutenant-Colonel Thomas Shadforth, who had been wounded in the Peninsula whilst commanding the 57th Foot in their celebrated action at Albuhera. Following in his father’s footsteps, Thomas was appointed an Ensign in the 57th Foot in 1825, which at that time was still commanded by his father. He sailed for Sydney aboard the Minstrel in the same year, in the company of his elder brother, Henry, a fellow officer of the “Die-Hards”. When the 57th were ordered to India in 1828, their father, then 60, resigned his commission and settled in New South Wales. He subsequently purchased the 640-acre Ravenswood Estate at Mulgoa, and became ‘a leader in the commercial and social life of Sydney for the next thirty years.’ (He died in 1862, aged 91) Thomas Shadforth also eventually rose to the command of the old 57th and he commanded the Regiment in the Crimea. As reported in the Hampshire Advertiser on 18 August 1855, he wrote to his wife and children on the eve of the first attack on the Grand Redan: ‘My own beloved Wife and dearly beloved Children. At one o’clock tomorrow morning I head the 57th to storm the Redan. It is, as I feel, an awfully perilous moment to me, but I place myself in the hands of our gracious God, without whose Will a sparrow cannot fall to the ground. I place my whole trust in him. Should I fall in the performance of my duty, I fully rely in the precious blood of our Saviour, shed for sinner that I may be saved through Him. Pardon and forgive me, my beloved ones, for anything I may have said or done to cause you one moment’s unhappiness. Unto God I commend my body and soul; which are his; and should it be His Will that I fall in the performance of my duty, in the defence of my Queen and country, I most humbly say, “Thy will be done.” God bless and protect you; and my last prayer will be, that He, of His infinite goodness, may preserve me to you. God bless you, my beloved Eliza, and my dearest children; and if we meet not again in this world, may we all meet in the mansion of our Heavenly Father, through Jesus Christ. God bless and protect you; and ever believe me. Your affectionate husband and loving father.’ Queen Victoria granted his widow and children the use of a royal cottage in Hampton Court Park, in addition to an annual pension of £200.

Lot 1145

A. Fairfax (Late 19th Century) Forest floor still life with a thrush's nest and apple blossoms Signed AFAIRFAX (lower right) Watercolour and bodycolour 30.4 x 42.7cm; 12 x 16¾in Provenance: Phillips, London, Victorian Drawings & Watercolours and Portrait Miniatures, 18 July 1988, lot 38

Lot 1216

Dutch School 18th Century Still life with flowers and cherries around an urn decorated with athletes, with a bright green lizard on a stone ledge; Still life with flowers around an urn decorated with athletes, with a cherry and a lizard on a stone ledge A pair, both oil on canvas Each 100.5 x 80cm; 39½ x 31½in (2) Provenance: Woolley and Wallis, Salisbury, Fine Old Masters & 19th Century Paintings, 10 December 2014, lot 108, where purchased by the present private collector

Lot 1217

Follower of Nicolas Baudesson Still life with flowers in a basket on a stone ledge Oil on canvas 38.4 x 46.3cm; 15 x 18¼in

Lot 1236

Edwaert Collier (Dutch c.1640-1708) Vanitas still life with a globe, open book, musical score, scroll, print of Caesar Augustus, lute and recorder on a draped table Signed E. Collier fe (to column) and a further two times E. Collier (to musical score and print) Oil on canvas 44.7 x 37cm; 17½ x 14¼in Provenance: Richard Green, London; The Power Collection; And by family descent

Lot 1238

Antoine Monnoyer (French 1670-1747) Still life with anemones, roses, carnations, orange blossom, jasmine, honeysuckle and other flowers in an urn and with cherries below on a stone ledge Oil on canvas 74.4 x 56cm; 29¼ x 22in Provenance: Richard Green, London (as Jean-Baptiste Monnoyer); The Power Collection; And by family descent This is a typical work of the celebrated still life painter Antoine Monnoyer. Dated by Claudia Salvi to the end of the 1730s, it exemplifies the elegance of composition, precision of draughtsmanship, and balance of colouring that is characteristic of Monnoyer's still lifes. Salvi relates the present painting to a series of six still lifes that Monnoyer painted for the dining room of the King's apartments in the Royal Palace in Stockholm. We are grateful to Dr Claudia Salvi for confirming the attribution to Antoine Monnoyer. A copy of her full report is available on request.

Lot 1428

Eloise Harriet Stannard (1829-1914) Still life with raspberries, peaches and convolvulus on a marble ledge Signed and dated E H Stannard/1890 (lower left) Oil on canvas 33 x 28.1cm; 13 x 11in

Lot 1429

Eloise Harriet Stannard (1829-1914) Still life with flowers in a basket and two Doulton vases Signed and dated E H Stannard/1889 (lower left) Oil on canvas 27.9 x 33.3cm; 11 x 13¼in

Lot 1430

Maria Margitson (1832-1896)Still life with melon, grapes, peaches, cherries, plums and a pear on a ledge Oil on canvas 48.5 x 61.1cm; 19 x 24in

Lot 1431

Attributed to Eloise Harriet Stannard (1829-1914) Still life with peaches, grapes and a pineapple Bears a signature E H Stannard (lower right) Oil on canvas 27.8 x 43.3cm; 11 x 17in

Lot 1432

Continental School 19th Century Still life with flowers in an urn on a stone ledge Oil on canvas laid on board, oval 79.2 x 63.6cm; 31¼ x 25in Provenance: The property of the late Sir Thomas Sopwith (1888-1989) by the late 1890s; And by family descent

Lot 1433

Oliver Clare (1853-1927) Still life with plums and a pear on a stone ledge Signed OLIVER CLARE (lower right) Oil on board 29.7 x 22.3cm; 11¾ x 8¾in

Lot 1434

Follower of Oliver Clare Still life with a basket of fruit and a pitcher; Still life with grapes, apples and a cabbage A pair, both oil on canvas Each 40.5 x 56.2cm; 16 x 22in (2)

Lot 1435

Willem Ackermann (German act. 1830-1845) Still life with hyacinths, narcissi, freesias and a rose in a glass vase on a ledge; Still life with hyacinths, narcissi, freesias, and a tulip in a glass vase on a ledge A pair, both signed and dated W. Ackermann 1830 (lower right) Both oil on canvas Each 34 x 27.5cm; 13¼ x 10¾in (2)

Lot 405

EMMANUEL LEVY (1900-1986); watercolour, still life flowers in a vase, signed and dated 1953 lower right, 43 x 34.5cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 512

ERIK W. GLEAVE; a pair of oils on board, still life studies with fruit, both signed, 30 x 40cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 528

LINDA WEIR (born 1951); oil on canvas, still life of flowers in a green jug, signed bottom middle, 59.5 x 59cm, framed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 595

NORMAN SAVILL; a pair of gouaches, heather in landscape scene, 14 x 24cm, also a pair of circular oils on board, still life, a watercolour seascape, a further watercolour of a seascape initialled LDH, oil on canvas of a maiden! etc (11).

Lot 624A

R.E. GROVES; watercolour, still life of fruit and a preserve pot, signed and dated 1885, 17.5 x 26.5cm, framed and glazed. Additional InformationImage clean and bright. There are three punched letter marks to the green apple. Frame with minor wear and some cracking.

Lot 648A

FLEMISH SCHOOL; oil on canvas, still life, flowers in a vase, indistinctly signed Silam (?), 69 x 59cm, framed.

Lot 706

19TH CENTURY ENGLISH SCHOOL; oil on canvas, still life study with viol beside books and music manuscript, unsigned, 64.5 x 76cm, unframed (af).

Lot 714

ROGER LAGNIEZ (20th century); mixed media, abstract still life study with cello, signed and dated '44, 38 x 52cm, framed and glazed. (D)Additional InformationThis lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

Lot 729

Three damaged 19th century oils, portrait of a young woman, 45.5 x 35.5cm, portrait of a saintly figure, 51 x 51cm, and still life study, 47 x 59cm, all unframed (all af) (3).

Lot 56

A ROYAL WORCESTER CHINA SMALL VASE, 1938, of waisted cylindrical form, painted in colours by E. Townsend with a still life of apples and blackberries on a mossy bank, signed, puce mark, shape G923, 4 1/2" high (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration.  Purchased in 1998 for £350

Lot 574

MIKE WOODS (b.1967), Still Life with Flower, Fruit and Wine Glass, oil on canvas, signed, 12" x 10", framed (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good

Lot 58

A ROYAL WORCESTER CHINA PIN TRAY, 1933, of shaped circular form, painted in colours by Harry Ayrton with a still life of pears and cherries on a mossy bank, signed, puce mark, 4 1/4" wide (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration, base crazed

Lot 586

JOHN HOLT (b.1949), Still Life with Flowers, Fruit and Wine, acrylic on board, signed, 15" x 11 1/2", framed (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good, behind glass

Lot 59

A ROYAL WORCESTER CHINA POT POURRI VASE AND COVER, 1925, of lobed cylindrical form, painted in colours by Ricketts with a still life of peaches and cherries on a mossy bank, signed, puce mark, shape H/278, 5" high (Illustrated) (Est. plus 21% premium inc. VAT)Good, no chips, cracks or restoration

Lot 595

RONALD BERGER (Austrian b.1943), "Still Life Study V", oil on board, signed, inscribed label to reverse, 5" x 6", gilt frame (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good

Lot 609

STANLEY REED (1908-1978), Still Life with Eggs, oil on board, signed, inscribed Longford Hall Museum & Art Gallery label to reverse dated 1933, 20" x 24", gilt frame (subject to Artists Resale Right) (Est. plus 21% premium inc. VAT)Very good, behind glass

Lot 61

A ROYAL WORCESTER CHINA SMALL VASE, 1932, of squat globular form with waisted neck, painted by Harry Ayrton with a still life of peaches and black cherries on a mossy bank, signed, puce mark, shape F110, 4" high (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration

Lot 65

A ROYAL WORCESTER CHINA SMALL BUD VASE, 1929, painted in colours by H.G. Moseley with a still life vignette of peaches and grapes on a mossy bank, signed, puce mark, shape Z491, 5" high (Illustrated) (Est. plus 21% premium inc. VAT)Good, no chips, cracks or restoration

Lot 66

A ROYAL WORCESTER CHINA SMALL VASE, 1954, of baluster form, painted in colours by Maybury with a still life of two apples and plums on a mossy bank, signed, black mark, 4 1/2" high (Est. plus 21% premium inc. VAT)No chips, cracks or restoration

Lot 67

TWO ROYAL WORCESTER CHINA SMALL DISHES, 1930 and 1934, both painted in colours by A Shuck with a still life, one of shaped oblong form with apples and cherries on a mossy bank, puce mark, 4" x 5", and lobed circular example with peaches and blackberries, navy mark, 4 3/4" diameter, both signed (Est. plus 21% premium inc. VAT)No chips, cracks or restoration

Lot 68

A ROYAL WORCESTER CHINA CABINET CUP AND SAUCER, 1938, the cup interior and saucer border painted in colours by E. Townsend with a still life of pears and blackberries, peaches and black currants, the cup with solid gilt exterior, cup only signed, puce mark, saucer 4 1/2" diameter (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration

Lot 70

A ROYAL WORCESTER CHINA CABINET CUP AND SAUCER, 1913, the cup and saucer border painted in colours by Ricketts with a still life of fruits on a mossy bank, together with another similar, the cup (1919) painted by F. Harper, the saucer (1921) by L. Hariman, all signed, puce marks, saucers 3 3/4" diameter (2) (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration.  Gilding to Ricketts rather worn, spotting to gilding on Harper cup

Lot 72

A ROYAL WORCESTER CHINA MINIATURE CABINET SOLITAIRE, late 20th century, painted in colours with a still life of fruits on a mossy bank, comprising coffee and teapot with covers, trio, milk jug, slop basin and two handled sucrier and cover, indistinctly signed, black mark, plate 3 1/4" diameter (8) (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks or restoration

Lot 73

A ROYAL WORCESTER CHINA VASE AND COVER, late 20th century, of ovoid form, the two angular handles with female mask terminals, on waisted socle and square foot, painted in colours by Leaman with a still life of fruits including peaches, apples and blackberries on a mossy bank, signed, black mark, shape 2363, 8" high (Illustrated) (Est. plus 21% premium inc. VAT)Knop reglued with loss.  Crack to foot (on peaches side) left corner running through

Lot 74

A SET OF THREE ROYAL WORCESTER CHINA CABINET PLATES, 1916, of shaped circular form, centrally painted by Richard Sebright with still life fruit vignettes within a gilded wide cobalt blue border with six pale pink cartouche with raised gilding, signed, puce mark, inscribed W8346, 9" diameter (Illustrated) (Est. plus 21% premium inc. VAT)No chips, cracks, restoration or crazing. Good.  One date cypher only has 10 dots under mark, but the last dot is smudged so maybe 1913 or 1916

Lot 40A

A PAIR OF STILL LIFE OILS ON BOARD IN ORNATE GILT FRAMES BEARING THE SIGNATURE A. VINE, ONE LACKING GLASS

Lot 458

A STILL LIFE OIL ON CANVAS OF FRUIT, SIGNED VOSSEN IN A GILT FRAME 66CM X 55CM

Lot 1338

Large framed still life watercolour signed G Butler 1987, 88 x 70 cm. Not available for in-house P&P

Lot 200

Sholto Johnstone Douglas (Scottish, 1871-1958),Still life with roses in a vase,Watercolour on paper,Unsigned,18.5cm x 14.5cm,Framed and glazed Provenance: From the artist's daughter through Geoff Hassell at Manor House Gallery, Cheltenham

Lot 235

Ronald Ossary Dunlop (Irish, 1894-1973),Still life with wine bottle,Oil on paper,Signed lower left,49.5cm x 36cm,Framed and glazed

Lot 247

Susan Ryder RP NEAC (British, born 1944),Still life (a drawing room scene with flowers in a jug and lamp beyond),Oil on canvas,Signed lower left,33.5cm x 33.5cm,Framed CONDITION REPORT:The paint surface appears to be in good condition, showing no obvious damage, losses or craquelure.  Examination un UV reveals no evidence of restoration. The frame appears to be structurally sound, showing age related wear and rubbing to the gilt highlights.

Lot 840

A pair of 20th century miniature watercolour paintings. One to depict a still life painting of a bouquet in urn type vase. The other to depict a a series of villagers within a church yard. Each painting Framed and glazed. 

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