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English School (20th century), Still life of pistol, tankard, wine glass, book and pottery flask, oil on canvas, 41 x 50.5cm. FramedCondition Report: 20th century canvas in 19th century frame. Very minor surface scuffs

Arnold Beauvais (British 1886-1984), Still life of pink roses in a glass tankard; Still life of Rudbeckia in a ceramic basket, two, watercolour, both signed lower right, the first 26 x 21.5cm.; the second 15 x 24cm. Framed and glazedCondition Report: Both under glass, slightly faded, may benefit from a light clean.

John Foulger (British 1942-2007), Still life, oil on board, signed lower right, inscribed verso, 29.5 x 37cm. FramedCondition Report: Generally good condition, may benefit from a clean.

Attributed to William Cruickshank (British 19th century), Still life of Birds nest, primroses and blossom; Still life of plums and raspberries on a mossy bank, a pair, oil on board, tondo, each diam 24.5cm.(2) Framed and glazed.Condition Report: Under glass, in original condition.

Follower of Stephen Elmer, Still life of hare, oil on canvas, 77 x 64cm. Framed. Condition Report: Relined, old retouchings visible under u.v. light, fine craquelure throughout, needs cleaning.

French Artist around 1700, large still life with fruits and rich decorated silver jug, oil on canvas, framed, 65 x 104 cm.

Giorgio Morandi ( 1890-1964) – Attributed, still life, Indian ink and pencil on paper, signed and dated bottom left, framed under glass, 34 x 29 cm.

Francesco Lavagna (1684 - 1724 ) - Attributed, still life with flowers, biscuits, fruits and porcelain, oil on canvas, on the reverse old descriptions, framed, 80 x 94 cm.

Abraham von Calraet, 1642 Dordrecht – 1722 Amsterdam, zug.STILLLEBEN MIT PFIRSICHEN UND SCHMETTERLINGENÖl auf Kupfer.34 x 45 cm.Vor dunklem Hintergrund auf einer grauen Steinplatte liegend mehrere orange-gelbe, samtige Pfirsiche und helle Weintrauben. Diese teils mit Wassertropfen oder Glanzlichtern versehen. Die Komposition wird belebt durch drei Falter, darunter rechts ein fliegendes Tagpfauenauge. Das Licht fällt von links oben herab und hebt so die Pfirsiche besonders hervor. Qualitätvolle feine Malerei mit gekonnter Licht- und Schattenführung in der typischen Manier des Künstlers. (1390181) (18)Abraham van Calraet, 1642 Dordrecht – 1722 Amsterdam, attributed STILL LIFE WITH PEACHES AND BUTTERFLIES Oil on copper.34 x 45 cm.

Geraldine Jacoba Bakhuyzen van de Sande, 1826 Den Haag – 1895 ebendaSTILLLEBEN MIT OBSTÖl auf Leinwand.51,5 x 74 cm.Rechts unten signiert und datiert „G.J.v. d S Bakhuysen 1860.“.In dekorativem goldenen Rahmen.Vor einem mit Weinblättern umrankten Mauerwerk auf einem sandigen Boden ein breiter Henkelkorb mit Früchten und einem großen Salatblatt, auf dem eine Rispe dunkler Weintrauben liegt, daneben ein großer leuchtender Kürbis, helle Trauben und ein kleiner Zweig mit einem Apfel, in den gerade eine Wespe kriecht. Weitere Insekten, wie ein krabbelnder Marienkäfer, beleben das von der Sonne beschienene prachtvolle Stillleben. Vereinzelt Retuschen.Die Malerin führt die Tradition des holländischen Stilllebens des 17. Jahrhundert in ihren Werken des 19. Jahrhunderts fort. Unter dem Einfluss der französischen Impressionisten steht bei ihr die Atmosphäre im Vordergrund. (1391617) (18)Gerardina Jacoba Bakhuyzen van de Sande, 1826 The Hague – 1895 ibid.STILL LIFE WITH FRUIT Oil on canvas.51.5 x 74 cm.Signed and dated “G.J.v. d S Bakhuysen 1860.” lower right.

Pieter de Ring, 1615 – 1660, Nachfolge desPRUNKSTILLEBEN MIT BLAUER SCHATULLEÖl auf Leinwand. Doubliert.111 x 91 cm.In reliefiertem Kehlrahmen.Das hier angebotene Gemälde wird beim RKD in Den Haag unter der Nr. 283660 dokumentiert.Auf einer durch ein tiefblaues Tischtuch halb verdeckten Tischplatte eine dominante lichtblaue Schatulle mit Goldtressen und scheinenden Metallbeschlägen. Davor eine angeschnittene Pastete in Gestalt eines Hasen mit darum angeordneten Gegenständen differenziert wiedergegebener Oberflächen wie Trauben, Feigen, Zitronen, Melone, Orangen und Tellern. Auf der Schatulle ein mit Wein gefüllter Römer neben lebendig wiedergegebenen Orangen.Provenienz:Christies London, 8. Juli 2011, Lot 99. (1391601) (1) (13)Pieter de Ring, 1615 – 1660, follower ofMAGNIFICENT STILL LIFE WITH BLUE CASKET Oil on canvas. Relined.111 x 91 cm.Provenance: Christie’s London, 8 July 2011, lot 99. The painting on offer for sale in this lot is listed at the RKD in The Hague under no. 283660.

Französische Schule des 17. JahrhundertsSTILLLEBEN MIT SPARGEL UND ARTISCHOCKENÖl auf Leinwand.47 x 54 cm.In teilvergoldetem Rahmen.Vor dunkelbraunem Hintergrund, auf einer flachen Platte, die präsentierten Stilllebenobjekte: In der Mitte eine helle Keramikschale mit leuchtend roten Kirschen, auf denen sich Glanzlichter widerspiegeln, rechts im Vordergrund eine kleinere Schale mit frischen Erdbeeren, von denen einige wenige, wie bei den Kirschen, vor den Schalen liegen. Rechtsseitig ein großer Zinnkrug, dahinter eine grünliche Flasche und ein hoher geflochtener Korb mit Griff, in dem frische gepflückte Erbsenschoten liegen. Auf der linken Seite liegend zwei große Artischocken und dahinter auf einem Holzkasten ein Bündel mit frischem grünem Spargel. Feine naturalistische Malerei mit gekonnter Licht- und Schattensetzung, überwiegend in den Farben Grün, Rot und Braun in diversen Abstufungen.Provenienz: Contessa de Trogoff, Née de Fleury, worauf eine Leinwandbeschriftung auf der Rückseite hinweist. Literatur: Vgl. Michel Faré, La nature morte en France. Son histoire et son évolution du XVIIe au XXe siècle, Bd. II, Genf 1962. (1351881) (18)French School, 17th centurySTILL LIFE WITH ASPARAGUS AND ARTICHOKES Oil on canvas.47 x 54 cm.Provenance: Contessa de Trogoff, née de Fleury, according to an inscription on the back of the canvas.

Francesco Lavagna, 1684 – 1724, zug.GROSSES OBST- UND BLUMENSTILLLEBENÖl auf Leinwand. Doubliert.72 x 188 cm.In vergoldetem ornamental verziertem Profilrahmen.Breit horizontal ausgerichtete Zurschaustellung von gegen den dunklen Grund kontrastierenden Gegenständen. Links eine balustrierte Fayencevase mit blauer Landschaftsmalerei, rechts eine Glastazza, darin und darum Blumenbouquet bzw. Darstellung von Trauben, Birnen, einer aufgeschnittenen Melone, Pflaumen und Quitten. Die Reflexe der Glastazza reizvoll mit dem angedeuteten Landschaftshintergrund kontrastierend. Ähnliche Gemälde des Künstlers sind bekannt und z. B. unter der Fondazione Zeri Nr. 87353 von Zeri als Francesco Lavagna klassifiziert. Eine ähnliche Fayencevase mit Landschaftsmalerei wurde am 28.04.1981 bei Aste Fine Art in Rom unter Lot 72a angeboten. Typisch für Lavagna sind die kräftigen Farben, mit denen uns die dargestellten Gegenstände entgegentreten.Über den Maler, seine biografischen Daten und seinen Werdegang ist bislang wenig bekannt. Als wohl überwiegend in Neapel tätiger Stilllebenmaler wurde er erstmals 1988 bei Christie‘s aufgeführt und wird seither als bedeutender Stilllebenmaler der Neapolitanischen Schule gesehen. Seine Bouquets sind meist vielblumig und gelegentlich in Parklandschaften versetzt.Literatur: Vgl. Luigi Salerno, La natura morta italiana 1560-1805, Rom 1984. (13512334) (13)Francesco Lavagna,1684 – 1724, attributedLARGE FRUIT AND FLOWER STILL LIFE Oil on canvas. Relined.72 x 188 cm.Similar paintings by the artist are known and listed at Fondazione Zeri no. 87353 as Francesco Lavagna. A similar faience vase with a landscape painting was offered for sale on 28 April 1981 at Aste Fine Art in Rome under lot 72a. The vibrant colours of the depicted objects are typical of Lavagna’s oeuvre.

Alexander Coosemans, 1627 Antwerpen – 1689FRÜCHTESTILLLEBEN MIT TRAUBEN, FEIGEN, MELONE, PFIRSICHEN UND ZITRONE AUF EINER ZINNSCHALEÖl auf Holz. Parkettiert.36 x 52 cm.Beigegeben eine Expertise von Dr. Jaco Rutgers, Tilburg vom 09. September 2020, mit weiteren Vergleichsangaben, in Kopie.Der Maler wurde insbesondere bekannt durch seine üppig drapierten, hervorragend gestalteten Frucht- und Vanitasstillleben, in denen er stets eine feurige Farbpalette zur Geltung bringt. Auch im vorliegenden Gemälde leuchten die rot-gelben Pfirsiche oder das Gelb der Zitrone, mit bandartig geschnittener Schale, auf glänzender Platte vor dem Hintergrund dunkler und heller Trauben hervor. Das Stillleben ist nahezu symmetrisch konzipiert, wobei die Pfirsischgruppe auf dem Teller die Mitte einnimmt, während die dahinter hochgetürmten Trauben, mit den weiteren Früchten seitlich, nahezu hügelig angeordnet sind, überfangen vom Blattwerk der Reben mit grünen und leicht bräunlich verfärbten Blätern. Im unteren Teil werden die Farben beruhigt wiedergegeben, in Art eines moosgrünen Samttuchs über der Holzplatte. Ebenso neutralfarbig ist der bräunliche Hintergrund gehalten. Das Gemälde entspricht ganz den weiteren bekannten Werken des Malers, wobei einige Details auch in anderen Stillleben wiederzufinden sind. Somit zählt das Werk zu den Leistungen der Hauptperiode des Meisters. (1391782) (1) (11)Alexander Coosemans, 1627 Antwerp – 1689FRUIT STILL LIFE WITH GRAPES, FIGS, MELONS, PEACHES, LEMONS ON PEWTER BOWL Oil on panel. Parquetted.36 x 52 cm.Accompanied by an expert's report by Dr Jaco Rutgers, Tilburg, dated 9 September 2020 with further examples of comparison, in copy.

Maler des 18./ 19. JahrhundertsGROSSES PRACHTVOLLES BLUMENSTILLLEBENÖl auf Leinwand. Doubliert.100 x 70 cm.In dekorativem Rahmen.Vor grünlich-braunem Hintergrund, der von links nach rechts aufhellt, auf einer alten steinernen Platte stehend, die einen kleinen Riss und eine Bestoßung aufweist, eine große, gold glänzende Vase, darin das prachtvolle Blumenarrangement: Es besteht aus farbenfrohen Rosen, Tulpen, Nelken, Chrysanthemen, Primeln, Hyazinthen, einer über den Vasenrand herabhängenden blauen Ackerwinde und zwei großen, nach oben links ragenden geflammten Tulpen. Auf der Platte selbst liegend zudem noch eine orange leuchtende Zinnie. Malerei mit gekonnter Licht- und Schattenführung, die die hell beleuchteten Blumen besonders gegenüber der dunkleren Umgebung hervorhebt. (1391234) (18)Painter of the 18th/ 19th centuryLARGE MAGNIFICENT FLOWER STILL LIFEOil on canvas. Relined.100 x 70 cm.

Maler des 17. JahrhundertsSTILLLEBEN MIT PRACHTVOLLEM BLUMENKORBÖl auf Leinwand. Doubliert.67 x 91 cm.In vergoldetem Rahmen.Vor braunem Hintergrund auf einer Platte stehend ein breiter, geflochtener Korb, darin ein prächtiges Arrangement mit überwiegend roten und weißen, sowie rot-weißen Blumen, darunter Tulpen, Chrysanthemen, Nelken und Mohn, sowie gelbe Narzissen und blaue Ackerwinden und Vergissmeinnicht. (1381926) (18)Painter of the 17th centurySTILL LIFE WITH MAGNIFICENT FLOWER BASKETOil on canvas. Relined.67 x 91 cm.

Niederländischer Maler des 17. JahrhundertsSTILLLEBEN MIT REIHER, KARPFEN, HUMMER, BESTECK UND BASTFLASCHEÖl auf Leinwand. Doubliert.116 x 97 cm.In breitem, vergoldeten reliefierten Rahmen.In großem Format zeigt der Künstler, der im Umkreis von Elias Vonck (um 1605-1652) oder Jacobus Biltius (1633-1681) anzusiedeln sein mag, einen kopfüber herabhängenden Reiher. Dessen Kopf wird flankiert von einem gekochten Hummer, einem Karpfen, einer Bastflasche und einem Lederetui mit Besteck. (1380319) (13)Dutch School, 17th centurySTILL LIFE WITH HERON, CARP, LOBSTER, CUTLERY AND RAFFIA BOTTLE Oil on canvas. Relined.116 x 97 cm.

Hieronymus Galle d. Ä., 1625 – um 1679GROSSES STILLLEBEN MIT KÜRBISSEN GERAHMT VON FRÜCHTENÖl auf Leinwand. Doubliert.100,5 x 113 cm.Mit auf der Steinplatte signiert „Gironimo.Galle.f.“.In elegantem Wellenleistenrahmen.Vor einer antiken Plinthe mit Eierstabfries liegen zwei mächtige Kürbisse, deren bewegte, grün-gelb changierende Oberfläche durch die Beleuchtung mit lebendigem Schattenwurf gekennzeichnet ist. Vor ihnen Trauben, Rüben, Pflaumen, Feigen und Granatäpfel, auch oberhalb der Plinthe Früchte liegend. Galle war 1636 - 1646 in Antwerpen tätig und ab 1636/37 Meister. 1661-1662 hielt er sich zusammen mit Franz de Neve (1606-1681) in Rom auf.Provenienz: Christie‘s London, 12. Dezember 1986, Lot 26.Sotheby‘s New York, 2015.Literatur:Vgl. Walter Berndt, Die niederländischen Maler des 17. Jahrhunderts, München 1969. (1390011) (13)Hieronymus Galle the Elder,1625 – ca. 1679LARGE STILL LIFE WITH PUMPKINS SURROUNDED BY FRUITOil on canvas. Relined.100.5 x 113 cm.Signed “Gironimo.Galle.f” at centre of stone slab.

Georgius Jacobus Johannes van Os, 1782 Den Haag – 1861 ParisGROSSES STILLLEBEN MIT SOMMERBLUMEN UND WEINTRAUBENÖl auf Holz, teils parkettiert.97 x 75 cm.Rechts unten auf Fensterbank signiert und datiert „G.J.J. van Os 1809“.In dekorativem Rahmen.Hauswand mit hochgezogenem Holzfenster, auf dessen steinerner Bank eine bauchige Glasvase mit einem farbenfrohen bunten Blumenstrauß steht. Links des Fensters schlängelt sich an der Hauswand ein Weinstock mit hellen Traubenrispen entlang, dessen Blätter von oben in das Bild hereinragen. Der Strauß besteht u. a. aus Päonien, einer gelb leuchtenden Sonnenblume, Rosen, blauer Kornblume, einer Gladiole sowie diversen Kleinblütern. Am rechten Rand, über die Bank ragend, zwei weitere Rispen mit dunklen Weintrauben. Qualitätsvolle Malerei in der typischen Art und Weise des bekannten Künstlers. Holzplatte etwas gewölbt, rest., teils Retuschen.Der Künstler war wie sein Vater Jan van Os (1744-1808) spezialisiert auf die Malerei von Stillleben mit Blumen, Obst und Wild. Vor allen Dingen wegen seiner verblüffenden Pinselführung und der Naturtreue seiner Blumen und Früchte wurde er einer der meist gefeierten Stilllebenmaler des frühen 19. Jahrhunderts. (1391619) (18)Georgius Jacobus Johannes van Os, 1782 The Hague – 1861 ParisLARGE STILL LIFE WITH SUMMER FLOWERS AND GRAPES Oil on panel, partially parquetted.97 x 75 cm.Signed and dated “G.J.J. van Os 1809” on windowsill lower right.

Römischer Meister des 17. JahrhundertsSTILLLEBEN MIT BLUMENGIRLANDE UM STEINNISCHE MIT WEINKELCHÖl auf Leinwand. Doubliert.97 x 135 cm.In dekorativem Rahmen.Vor schwarzem Hintergrund eine steingraue Nische mit leicht geschwungenem, teils mit Voluten versehenen Rand, in deren Inneren ein gläserner Noppenkelch steht, der halb gefüllt ist wohl mit Wein. Durch den Lichteinfall ist er mit zahlreichen Glanzlichtern versehen. Um die Nische herum ein großer prachtvoller Früchtekranz, bestehend u. a. aus gelb-rot leuchtenden Äpfeln, Pfirsichen und Birnen, Rispen mit hellen und dunklen Weintrauben sowie Zweigen mit Kirschen, Pflaumen und Feigen, zudem einige Erdbeeren. Prachtvolle qualitätsvolle Malerei, bei der nicht nur der weingefüllte Kelch, sondern auch die Früchte durch den Lichteinfall besonders hervorgehoben werden. (1381651) (18)Roman School, 17th centurySTILL LIFE WITH FLOWER GARLAND AND STONE NICHE WITH WINE GOBLET Oil on canvas. Relined. 97 x 135 cm.

Frankfurter Meister des 17. JahrhundertsSTILLLEBEN MIT AUSTERN UND OLIVENÖl auf Leinwand. Doubliert.40 x 49 cm.In dekorativem, teils goldbemaltem Rahmen.Vor dunklem, fast schwarzem Hintergrund, auf einer hellen Holzplatte mit Maserung werden präsentiert: eine Zinnplatte mit geöffneten Austern, ein runder Zinnteller mit Oliven, ein gefüllter gold-silberner Pokal, dessen Deckel abgenommen wurde, eine leuchtend gelbe Zitrone, ein paar Walnüsse und schließlich ein Messer. Auf der oberen linken Tischkante schließlich noch ein angeschnittenes Brot. Malerei in überwiegend schwarzen und grau-braunen Farbtönen, wobei die Zitrone besonders hervorsticht. (13908139) (18)School of Frankfurt, 17th centurySTILL LIFE WITH OYSTERS AND OLIVESOil on canvas. Relined.40 x 49 cm.

Frans Sant-Acker, 1648 – 1688STILLLEBEN MIT NAUTILUSPOKAL UND GLÄSERN, CA. 1660-1670Öl auf Leinwand. Altdoubliert.82,7 x 67,3 cm.Links unten signiert „F. Sant. Acker“. In der Mitte des Keilrahmens altes Etikett mit Künstlernennung.In vergoldetem ornamental verziertem Rahmen.Das Gemälde ist registriert und abgebildet im RKD unter der Nummer 000005798.In einem dunklen Innenraum mit zur rechten Seite gerafftem Vorhang und herabhängender Quaste eine Marmortischplatte mit seitlich drapiertem Teppich. Darauf zu finden sind ein prachtvoller Nautiluspokal, eine flache silberne Schale mit Orange, auf deren Ast ein Schmetterling sitzt, sowie zwei befüllte Gläser und ein liegender Silberbecher. Feine Malerei mit starker Hell-Dunkel-Akzentuierung und gekonnt gesetzten Glanzlichtern.Provenienz:Sotheby‘s Amsterdam, 03. Mai 1999, Lot Nr.78 (13916024) (1) (18)Frans Sant-Acker,1648 – 1688STILL LIFE WITH NAUTILUS CUP AND GLASSES, CA. 1660 – 1670Oil on canvas. Old relining. 81.7 x 67.3 cm.Signed “F. Sant. Acker” lower left. The painting is listed and illustrated at RKD, The Hague under no. 000005798.Provenance:Sotheby’s Amsterdam, 3 May 1999, lot 78.

Frans van Everbroeck, um 1638 – um 1672 Wurde 1654 Lehrling des Jan van Son und 1661/62 Meister. PRUNKSTILLLEBEN MIT FRÜCHTEN UND BLUMENÖl auf Leinwand.116,5 x 106,5 cm.Links unten signiert „F. VAN. EVER BROECK“.In reliefiertem und vergoldeten Rahmen.Auf einer angedeuteten Steinstufe eine Schnecke, die etwas verloren wirkt neben der klassischen Architektur und dem Fruchtgebinde, welches eine reichhaltige Ansicht frischer Früchte darbietet, die in ihrer vollen Farbigkeit eine erfolgreiche Ernte und somit allegorisch die Abundantia, die Allegorie des Überflusses, darstellen. Unter den bekannten Festonbildern seiner Hand nimmt dieses Gemälde eine Sonderstellung ein, weil es nicht nur Blumen und Früchte nebeneinander präsentiert, sondern den Feston auch in einen architektonischen Zusammenhang setzt, dessen Antikenverweise und mit den Basen von Säulen auf die Monumentalität dieses Fruchtgebindes verweist. Bekannt ist er für seine Früchte- und Blumenbilder. Werke seiner Hand in der Kunsthalle Karlsruhe (Kat.Nr. 1910), im Historischem Museum zu Speyer, in der Painters Stainers Hall, London. (1391607) (1) (13)Frans van Everbroeck,ca. 1638 – ca. 1672MAGNIFICENT STILL LIFE WITH FRUIT AND FLOWERS Oil on canvas.116.5 x 106.5 cm.Signed “F. VAN. EVER BROECK” lower left.

Flämischer Meister des 17. JahrhundertsSTILLLEBEN MIT ERLEGTEM SCHWANÖl auf Holz, teils parkettiert.100 x 139 cm.In vergoldetem Prunkrahmen.In einem dunklen Innenraum auf einer Tischplatte liegend ein großer weißer, erlegter Schwan, dessen Kopf über dem Tischrand hängt. Davor stehend ein Hocker mit einer Keramik, auf der Fische liegen. Links auf der Tischplatte ein glänzender Kupferkessel, vor dem drei Vögel liegen und in dem eine Schüssel mit Früchten und einer großen Artischoke steht. Qualitätvolles, typisches Stillleben der Zeit, wobei der Schwan gegenüber dem braunen Hintergrund und durch sein prachtvolles, fein ausgearbeitetes Federkleid besonders hervorgehoben wird. (13908123) (18)Flemish School, 17th centurySTILL LIFE WITH DEAD SWAN Oil on panel, partially parquetted. 100 x 139 cm.

Giacomo Nani, 1698/1701 Porto Ercole – 1770 NeapelSTILLLEBEN MIT WASSERMELONEÖl auf Leinwand. Doubliert.58 x 71 cm.Rechts unten signiert „Giacomo Nani f.“.In vergoldetem Prunkrahmen.Vor dunklem Hintergrund auf einer an der Kante beschädigten Steinplatte stehend zwei Zinnschalen, eine mit drei Gläsern, die andere tiefere Schale mit aufgeschnittenen Stücken von Wassermelonen. In der Mitte des Hintergrundes eine mit Bast umwickelte Weinflasche und ein weiteres Gefäß, sowie davor ein gefaltetes, helles Leinentuch. Qualitätvolle Malerei, teils mit gesetzten Glanzlichtern und gekonnter Licht- und Schatteninszenierung. (1390031) (18)Giacomo Nani,1698 Porto Ercole – 1770 NaplesSTILL LIFE WITH WATERMELON Oil on canvas. Relined.58 x 71 cm.Signed “Giacomo Nani f.“ lower right.

Hendrick van Streeck, 1659 – 1719STILLLEBEN MIT NAUTILUSPOKAL, GLÄSERN UND FRÜCHTEN IN WANLI-SCHALEÖl auf Leinwand. Doubliert.90 x 71 cm.Links unten signiert „H. v. Streeck / f.“.In vergoldetem, mit Perlband verzierten Kehlrahmen.Beigegeben ein Gutachten von Stéphane Pinta vom Cabinet Turquin, in Kopie.Auf einer profilierten Tischplatte, die sich von rechts in den Raum hineinschiebt, unter einem grünen mit Posament besetzten Feston ein Ensemble aus einer breiten Wanli-Schale mit licht schimmernden Zitrusfrüchten, einem vermeilmontierten Nautiluspokal, einem Stangenglas und einem Weinrömer mit Noppenkranz.Hendrick van Streeck lernte zunächst bei seinem Vater Juriaen van Streeck und wurde dann Schüler bei Melchior de Hondecoeter und später bei Emmanuel van Witte, bei dem er zeitweise lebte und wie dieser Kircheninterieurs anfertigte. Von ihm sind auch einige beeindruckende Stillleben überliefert wie an dem hier angebotenen Exempel gezeigt werden kann.Provenienz:Galerie Bailly, Paris, 1984.Sotheby‘s Monaco, 7.-8. Dezember 1990.DROUOT-RICHELIEU Paris, Sammlung de l‘Hôtel de Jarnac, 06. Mai 2022.Anmerkung:Ein vergleichbares Stillleben jedoch ohne den schönen Nautiluspokal wurde bis 2013 im Museum in Atlanta (Georgia) verwahrt und hat die Maße 101.6 x 82.6 cm.Literatur:Vgl. Bob Haak, Hollandse schilders in de Gouden Eeuw, 1984, S. 487.Vgl. zu dem Gemälde in Atlanta: Adriaan Fred van der Willigen and F.G. Meijer, A Dictionary of Dutch and Flemish Still-life Painters Working in Oils 1525-1725, Leiden 2003, S. 191. (1391024) (13)Hendrick van Streeck,1659 – 1719STILL LIFE WITH NAUTILUS CUP, GLASSES, AND FRUIT IN WANLI BOWL Oil on canvas. Relined.90 x 71 cm.Signed “H. v. Streeck / f.“ lower left.Accompanied by an expert’s report by Stéphane Pinta from Cabinet Turquin, in copy.Note:A comparable still life but without the beautiful nautilus cup depicted on the painting in this lot was held at the Museum in Atlanta (Georgia) until 2013, measuring 101.6 x 82.6 cm.

L Berm? (20thC School). Floral still life, oil on board, signed, 16.5cm x 11cm, in gilt frame.

Edward Weston (American, 1886-1958) and Cole Weston (American, 1919-2003). Gelatin silver print photograph titled "Sandstone Erosion, Point Lobos" depicting unique rock formations. Printed from the 1942 original negative. Ink stamped along the verso and pencil signed by Cole Weston.Provenance: From the Estate of Christopher Cardozo, Minnesota.Lot Essay:While initially working with soft-focus pictorialism, which was popular at the turn of the century, Edward Weston quickly abandoned this in favor of his own, unique style of photography. He experimented with many subjects of the years including landscapes, still lives, nudes, portraits, and genre scenes. However, it was his photographs of Point Lobos, California, that became his most popular subject.In 1937, he became the first photographer to receive a Guggenheim Fellowship. This allowed him to produce nearly 1,400 negatives over the following two-year period, most of which focused on Point Lobos. He spent much of his life traveling the United States, working on various projects and with a multitude of collaborators and muses.Upon Edward's death in 1958, his collection of negatives was left to Cole, his fourth and youngest son. Cole, along with his brother Brett, kept his father's career flourishing posthumously by printing and publishing photographs from this bequeathment.Sheet; height: 7 1/2 in x width: 9 1/2 in. Matted; height: 16 in x width: 20 in.

Jan Matulka (Czech/American, 1890-1972). Oil on canvas painting titled "Still Life with Ceramic Bird" depicting a small table with two shells, a ceramic bird form vessel, and a lamp, ca. 1930. Signed along the lower right.Provenance: Alexander Raydon Gallery, New York; Private Collection, United States; Artnet, June 11, 2013, New York; Private Minnesota Collection.Exhibition: Collective Council Gallery, New York, May-December 2013.Lot Essay:Jan Matulka was born in a small town in South Bohemia. While he took his first art classes in Prague, his family soon emigrated to New York City. He attended classes at the National Academy of Design and, upon his graduation, won a Joseph Pulitzer Traveling Scholarship. It was with this money that he traveled back to Europe, visiting Paris in 1919. He rented a studio and returned there throughout the 1920s. He began a long teaching career in 1925 at the Art Students League. Throughout his life, he taught artists such as Dorothy Dehner, Francis Criss, Brugoyne Diller, Irene Rice Pereira, David Smith, Jacob Burck, Esther Shemitz, and many more.Matulka painted continuously and often in differing styles depending on the time of day. He was known to create abstract works in the morning and end the day with landscapes. He joined the Public Works of Art Project as well as the Federal Art Project, painting murals.Many of his works were influenced by the American Southwest. In his travels there, he frequented Native American dances and studied the art, ceremonies, and customs of the Pueblo tribes. He was drawn by the romanticized - and often exoticized - depiction of Native Americans during this time. This influence is visible in the present lot with the unique ceramic bird displayed in the still life.As Matulka aged he withdrew more and more from society, more so as his health failed. Throughout the latter part of his life, his works were subject to much acclaim when they were exhibited. During his life, he exhibited frequently at the Frank K. M. Rehn Gallery in New York. His posthumous credits include, among others, the Whitney Museum of American Art, the Smithsonian Museum of American Art, the British Museum, and the Guggenheim.Sight; height: 35 1/2 in x width: 29 1/2 in. Framed; height: 42 in x width: 36 in.

Jonas Wood (American 1977-), ‘Large Shelf Still Life Poster’, 2017, offset lithograph in colours on wove paper, published by Voorlinden Museum; sheet: 59.5 x 59.5cmsheet: 59.5 x 59.5cmIn very good condition No knocks or tears to the sheet Some very light waving to the sheet, due to rolling This work has been stored rolled and has not been framed.

AFTER OLIVER CLARE (BRITISH 1853-1927) STILL LIFE OF GRAPE VINES, PEACHES AND A PLUM IN A ROCKY LANDSCAPEoil on canvas58.5 x 48cm; 23 x 19in76 x 66cm; 30 x 26in (framed)Property of a Lady ProvenanceAcquired by the mother of the present owner circa 1980

• JULIETTE CAMBIER (BELGIAN 1879-1963) STILL LIFE WITH ROSES IN A VASEsigned Juliette Cambier lower rightoil on canvas45 x 37cm; 17 3/4 x 14 1/2in64 x 56cm; 25 1/4 x 22 in (framed)Property from a Private Collection, LondonProvenanceAcquired by the father of the present owner prior to 1960

BRITISH SCHOOL (LATE 19TH CENTURY) STILL LIFE OF FLOWERS WITH PEONIES, LILIES, CHRYSANTHEMUMS AND DELPHINIUMS oil on board74.5 x 53cm; 29 1/4 x 21in94 x 72.5cm; 37 x 28 1/2in (framed)Property from a Private Collection, London offered for sale without reserve

Edward Ladell (British, 1821-1886)Still life with fruit, ivory box and glass vase signed with monogram (lower left)oil on canvas35.5 x 30.5cm (14 x 12in).Footnotes:ProvenanceWith M. Newman Ltd., London.Private collection, UK.For further information on this lot please visit Bonhams.com

François Bonvin (French, 1817-1887)Still life of flowers signed and dated 'F. Bonvin 1876' (centre right)oil on canvas57 x 46.5cm (22 7/16 x 18 5/16in).Footnotes:ProvenanceWith Galerie Jonas, Paris (according to label on the reverse).Anon. sale, Christie's, Paris, 13-26 November 2020, lot 320.For further information on this lot please visit Bonhams.com

Nikolai Petrovich Bogdanov-Bel'sky (Russian, 1868-1945)Daydreamer indistinctly signed and dated '1926' (lower left) oil on canvas78 x 68cm (30 11/16 x 26 3/4in).unframedExecuted in 1926Footnotes:ProvenancePrivate collection, USA.LiteraturePerezvony, Riga, N26 (18), 1926, p. 834, illustrated.The present lot is offered with an official expertise from the Grabar Art Conservation Centre, dated 24 May, 2006.Nikolai Bogdanov-Bel'sky's œuvre can be said to be primarily preoccupied with the theme of childhood. The artist painted the lives of young peasant children in different forms throughout his artistic life, from his early works, which exhibit a strong interest in the sociological conditions of rural childhood (see for example At the doors of the school, 1897, Russian Museum) to his plein air works which depict both the joyful and everyday pursuits of youth. As the artist himself noted, 'I have always had children alongside me, I have devoted, and indeed still devote my life to them.'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

Emma Irlam Briggs (British, 1867-1951)Portrait of the artist's sister, Mrs F. J. Butts in green signed 'E.Irlam.Briggs' and inscribed 'Mrs F.J. Butts/The Salterns Nr Parkstone/Dorset' (on the reverse)oil on canvas64.2 x 50.8cm (25 1/4 x 20in).Footnotes:ProvenancePrivate collection, UK (acquired from the artist's great nephew).When purchasing a painting by Emma Irlam Briggs in 1937, the curator of the Russell-Cotes Art Gallery and Museum, Norman Silvester (1894-1969), asked Briggs for a brief summary of her life. Despite popularity and success with her portraits, her religious images and her more Pre-Raphaelite works, Briggs apologised that her life had always been 'very uneventful'. It was true that despite early successes with Pre-Raphaelite pieces and a high profile as a religious painter, Briggs had remained a local artist at home, favouring the galleries of Dorset to those in London. However, the Briggs family motto might well have been 'triumph over adversity' as their fortunes were certainly a mixed bag.Briggs was born in Kent on 31st January 1867, the fourth of six sisters. Her father James Briggs was described as never being of stout health, and the family had not settled long in Poole before he died of pneumonia aged only forty-four. He left his wife and his five daughters (the sixth and eldest, Annie, dying in infancy) to make their own way. Eldest sister Ada (1861-1951) became Poole's first female alderman in 1919 and wrote novels. Agnes (1872-1940) was a violinist and a miniaturist. Monica (1871-1901) was interested in botany, tragically drowning while collecting samples of fungi and stones from round the local pond. Mary (1863-1944), acknowledged in the family as the prettiest, married a man old enough to be her father and found herself a wealthy young widow. When Emma caught measles as a child, she lost almost all her hearing, relying on an ear trumpet. Like her sister Agnes, she turned to art, attending the Bournemouth Municipal Art School to begin with, then studying in conjunction with South Kensington, where she won several prizes. She then completed a course at Wimbledon Art College and was offered a scholarship, but was unable to accept it. She instead did a year at St John's Wood Art School, followed by the Royal Academy schools where she was awarded the Landseer Scholarship. Again, she declined the scholarship and instead went to Paris, before returning to Hampshire to begin her career.Briggs's reputation in the twentieth century was that of a religious artist. Her best loved and most reproduced paintings were In Joseph's Workshop or The Workshop at Nazareth (1904), St Joseph's Dream (1906), both still in private hands. She went on to produce ten paintings, including The Divine Son for the interior of St Paul's Church, Cheltenham. However, the beginning of Brigg's career was marked with Pre-Raphaelite subjects and portraits. Possibly her debut exhibition was in Bournemouth in 1886 and she remained an active member of the Bournemouth Art Society alongside other Hampshire artists such as equestrian artist Lucy Kemp Welch (1869-1958). In early reports of her work she went by 'Irlam Briggs' without any hint of gender, which was corrected over time to 'Miss Irlam Briggs'. Her debut at the Royal Academy in 1892 was with a pair of portraits of Petronell and Dorothy Barrett, followed the year after by a portrait of her sister Agnes, known also as The Violinist (1893, Russell-Cotes Art Gallery and Museum, Bournemouth). 1894 saw The Lost Bower, which was accompanied by a couplet by Elizabeth Barrett Browning from the poem of the same name, which marked a start of a series of literary inspired female figures drawn from Shakespeare and poetry, including Juliet (1896), The Blessed Damozel (1900), Elaine and The May Queen (1902). These were interspersed with female portraits and a rare historical piece, again a female figure, a girl resting against a large open Bible, Elizabeth, second daughter of Charles I, died Sept 8, 1650 (1901).With her propensity for female figures and portraiture, it is unsurprising that her sisters were subjects of her art throughout her career. Agnes's portrait was relatively early, with Ada's official portrait as Poole's first woman councillor presented to the corporation in 1927. This image of her sister Mary, as Mrs Frederick John Butts, might have been painted for her marriage in 1889 or possibly after the birth of her daughter Mary Francis Butts (1890-1937), the modernist writer and acolyte of Aleister Crowley (1875-1947). Mary Briggs's marriage to Butts resulted in her living in Salterns, an 18th century house overlooking Poole harbour, with a collection of William Blake watercolours inherited from Frederick Butts grandfather who was a friend of Blake. Once widowed, Mary sold the watercolours, for which her daughter never forgave her. The portrait would naturally predate Mary's second marriage to Frederick Musgrave Colville Hyde, a retired army officer and friend of her first husband and possible father of her son Anthony (1901-1940). Despite only marrying in 1907, as her second husband was a heavy drinker, she was again widowed in 1919.Briggs remained in Poole for the rest of her life, supporting local charities such as the orphan's home and both the Bournemouth and Poole Art Societies, the latter for which she served as honorary assistant secretary. Prints of her religious images remained popular Sunday School prizes and she continued to exhibit locally until the Second World War. She died at home in Dorset in 1951.We are grateful to Kirsty Stonell Walker, Independent Art Historian and Author, for compiling this catalogue entry.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

Edward Ladell (British, 1821-1886)Still life with fruit and a bird's nest signed with monogram (lower left)oil on canvas35.5 x 30.5cm (14 x 12in).Footnotes:ProvenanceWith M. Newman Ltd., London.Private collection, UK.For further information on this lot please visit Bonhams.com

Drechsler, Klaus. 1940 Ober-Dammer (Niederschlesien), lebt und arbeitet Dresden Wachwitz."Körnerbrötchen mit Malvenstengel", 2013, Algraphie, num. Ex. 13/ 19, sign., dat., betitelt, hinter Glas gerahmt. 40,5 x 49,5 cm Ra. Still life, algraphy, 2013, signed, dated, entitled, numbered copy 13 of 19. Framed with glass. 40,5 x 49,5 cm.

MANUSCRIPT – EMBLEM BOOKIllustrated manuscript notebook, 'Loves Emblems', dating from the latter half of the seventeenth-century, illustrated with some 100 line drawings and densely written in ink recto and verso on ruled pages, beginning with the dedication 'To all pious and vertuous widows' ('...the cause of my writing this was Love... Being by death deprived of what in my eyes was most Loveworthy to me in the world, and finding some relief in venting my grief and passion in this manner; I writ some few of these Emblemes, only in remembrance of my love... to ease my overburdend heart...'), followed by a preface 'To the indifferent Reader', apologising for any errors ('...if you find repetitions, know it is because one and the same grief still troubles my heart... his memory still is loved, honored and esteemed, wherever he was known...'), continuing with four sections of her own verses, each emblem accompanied by a verse from the bible and a line drawing, the sections titled 'Introduction' ('Love is strong as Death'); 'The Motive' ('...think not this strange, for it is any wonder/ to find such pangs where hearts are split assunder...'); the main part entitled 'Loves Emblemes The Season' ('...for all future days a constant Frost? Has nipd my budding hopes, my hopes are crost...'); a table of contents; and ending with 'Heiroglyphicks' ('...My anxious soul can find no ease at all/ with fears and doubts my heart is so oppressed/ my task is great, but my endeavours small/ as is my power, Lord teach me what is best...'), the last spread illustrating the story of Doctor Peter du Moulin ('...he is author of that excellent book contentment of mind; which he write when he was king Charles 2nd's chaplain...'), c.107 numbered leaves, dust-staining, marks, some small tears, later quarter calf, marbled boards, worn, some loss to head of spine, 4to (202 x 160mm.), [late seventeenth-century]Footnotes:'THE CAUSE OF MY WRITING THIS WAS LOVE': A poignant memorial from a widow to her lost love dedicated to 'all pious and vertuous widows'.The author of this emblem book is unknown, but she explains in the preface that the omission of her name is deliberate: '...my knowledge of my works imperfection forceth me to conceal my name... yet it is impossible for me to conceal my love...'. She notes that she spent '...six or seven weeks of single days in compyling it...'. It takes the typical form of an emblem book, each spread comprising a charming and idiosyncratic line drawing in pen and ink, a motto taken from the bible and her accompanying text in the form of a verse inspired by that motto, in this case usually two pages in length. She may have been inspired by Francis Quarles' book Emblems, published in 1635. The volume is a heartfelt, and by her own admission cathartic, outpouring of grief after the death of her beloved husband: '...This my grief hath no relenting, knows of no relief/ since I must live although my life begone/ the joys of all my wretched life in one/ were here confined...'. Her utter despair and grief, which she admits is worse than the '...fires of hell...', emanates from every page ('...Nothing but death can ease my troubled soul/ Nothing but death can my just grief control...'). Within the framework of religious fervour, she speaks of sudden death ('...let him for death each single day prepare...'), and suffering ('...This sentence is pronounced to all/ that lead a life/ of Godliness, both great and small/ must suffer strife/ this suffering is so Generall/ both man and wife/ are Comprehended in this Lot,/ his suffrings must not be forgot/ who first to die for us refused not...'). The bookplate indicates that the volume was once in the collection of James John Forbes Leith (1780-1840) of Whitehaugh, Aberdeenshire, and his wife Williamina Helen Stewart Forbes Leith (1804-1866). He spent most of his career in India in the service of the Company and retired with the rank of lieutenant-colonel in 1826. The Beinecke Library holds a manuscript volume of sentimental acrostic poems by the couple, dated 28 November 1827 (Osborn d225) and, in 1848, Williamina privately published Whitehaugh, a poem addressed to her eldest son after the death of his father. It may be that the author of our manuscript was an earlier member of the Forbes Leith family. Provenance: Colonel & Mrs Forbes Leith, Whitehaugh (bookplate); purchased by book collector Alexander Macdonald (1910-1998, Professor of Bacteriology at Aberdeen Medical School); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROSSETTI (CHRISTINA)Autograph poem 'On Occasion of her Book to my Fior-di-Lisa' signed ('Christina G. Rossetti'), 8 lines beginning 'The Rose is Love's own flower – And Love's no less/ The Lily's loftiness...', affixed to the flyleaf of a volume of thirteen manuscript poems dedicated to Christina Rossetti, composed, written and illustrated by her close friend Lisa Wilson, beginning 'To Christina, My Dearest Friend', and including the poems 'Consecrations', 'Of My Lady', 'Her Birthday', and 'For Love's Sake', finely decorated in watercolour throughout with flowers such as forget-me-nots, honeysuckle and blossoms, 13 leaves of watercolour paper, printed gilt floral endpapers, vellum, ruled in gilt with initials 'C.G.R.' on upper cover, 8vo (178 x 125mm.), [1892]; with a separate autograph fair copy of Rossetti's poem titled 'In honour of her Book, and still/ more of my own/ Fior-di-Lisa' signed with initials ('C.G.R.') on a bifolium, one page, 8vo (175 x 111mm.), [?1892]; and group of associated ephemera including a cabinet photograph of Lisa Wilson and two botanical watercolours signed 'Helen Rossetti' (small group)Footnotes:'TO MY FIOR-DI-LISA': A VOLUME OF ILLUSTRATED POEMS DEDICATED TO CHRISTINA ROSSETTI BY HER CLOSE FRIEND, WITH TWO COPIES OF ROSSETTI'S VERSE WRITTEN IN RESPONSE. This beautifully decorated vellum-bound volume was presented by Lisa Wilson to Christina Rossetti in 1892, soon after Rossetti's operation for breast cancer in May of that year, and bound in haste when it was thought that she had not long to live. The women had corresponded since the 1880's when Lisa Wilson '...a very invalidish girl, obliged to lie down a great deal...' (Mary F. Sanders, The Life of Christina Rossetti, London, 1930, p.254) wrote Rossetti an admiring letter. They finally met in 1885 when Christina offered to send her a copy of her new book Time Flies (see lot 118). Grasping the opportunity to meet in person, Lisa collected the book herself, thus beginning a close lifelong friendship, becoming her '...most important admirer... close friend and companion...' (Jan Marsh, Christina Rossetti, a Literary Biography, 1994, p.538). The moment is captured in her poem 'The Meeting' included here ('...let me recall the time when we first met... you came and let my hands clasp yours... Your lips, with their sweet melancholy curve and rare swift smile. Your musical low voice Thrilled through me...'). Rossetti herself was less poetic at the prospect of their meeting: 'Don't expect me to be as nice as my poems or you will be disappointed', she had written (Marsh, p.538).The collection of intense love poems, religious verses and thoughts on death has been described as '...the most public statement Wilson made of her love for Rossetti...' (Diane D'Amico, 'Lisa Wilson: 'A Friend of Christina Rossetti'', The Journal of Pre-Raphaelite Studies, Vol. 10, Fall 2001, p.118). D'Amico argues that the poems must, however, be read in the context of female friendship at a time when intense expressions of love between women were allowed without being interpreted as sapphic, and that they can also be seen in the concept of a spiritual friendship that brought them closer to God, with Rossetti as Lisa's spiritual guide: '...Wilson's love for Rossetti and her poetry inspired by this love are influenced by a religious faith that allowed for such a concept of friendship...' (D'Amico, p.121). After Rossetti's death, Lisa requested William Michael Rossetti return the volume, in which Christina had inscribed a short verse dedicated to her, and inserted at the front of the book. 'Fior-Di-Lisa' casts Lisa as a lily and herself as a rose, and the book is full of the symbolic language of flowers through which their friendship was communicated. The poem was published in New Poems by Christina Rossetti, edited by William Michael Rossetti in 1896.As well as requesting the return of our volume, she also burned all Christina's correspondence and, apart from publishing these poems, never commented about a friendship she considered sacred, thinking it was enough, and indeed a privilege, to be remembered merely as Rossetti's friend. All the poems inscribed here, apart from the preface 'To Christina' were included in Lisa Wilson's only published work, Verses, of 1896, in which she revealed her pseudonym Christina Grey, under which she may have published other work. Whilst their close relationship is acknowledged by biographers, and our volume consulted by them, further detail is scarce and she is depicted as a rather shadowy figure of whom little is known. Diane D'Amico has put this deficiency right in her comprehensive essay 'Lisa Wilson: 'A Friend of Christina Rossetti'', (ibid, pp.109-129), where she talks about Lisa and our volume in detail. D'Amico identifies her as Mary Louisa Wilson (1850-1934), the daughter of a solicitor from Oundle. She remained unmarried and lived with her widowed mother and brother as companion and housekeeper in Gilston Road, London. A devout Christian, she was a regular attendee at her local church, St Mary's The Boltons, and devoted much time to visiting the poor and sick. She moved to Cornwall after the death of her sisters and her good friend Maude Corkran, and spent the last years of her life in Penzance. The book was passed on to her god-daughter Christina Corkran, and has remained in the family since then.Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROYALTY – EDWARD, DUKE OF WINDSORCorrected typescript draft of a long article titled 'The Story of the Education of a Prince by Edward The Duke of Windsor', published as The Education of a Prince in LIFE magazine, December 1947, a working proof heavily amended and with additions and corrections by the Duke of Windsor throughout in red pen, other amendments in pencil by the editor, additional passages typed on separate sheets and tipped in, some pages duplicated, some crossed through with red pen, comprising some 157 ruled yellow carbon paper pages and 18 mimeographed pages, the story written in three parts (Part I 'A Royal Boyhood', from birth to the accession of his father to the throne, Part II 'I, Edward Prince of Wales', from the coronation of George V to the outbreak of war, and Part III 'A Prince at War', on his wartime service and the immediate aftermath), c.175 pages, sections numbered 'Windsor I', 'Windsor II', 'Windsor III' etc., filing hole top left of each page, general dust-staining, marks and discolouration, contemporary red morocco, gilt coronet on upper cover, gilt title on spine within raised bands, gilt dentelles, marbled endpapers, 4to (280 x 235mm.), [n.d. but c.1947]; in a custom-made solander boxFootnotes:'THE POSITION TO WHICH I WAS BORN': EDWARD, DUKE OF WINDSOR WRITES CANDIDLY ON HIS CHILDHOOD & EARLY YEARS FOR AN AMERICAN MAGAZINE.The present typescript had its origins two years earlier when '...Reading LIFE in 1945 in the Bahamas, the Duke of Windsor was impressed by the understanding of Britain shown in a series about his old friend, Winston Churchill. The Duke had a mutual friend call up Charles J. V. Murphy, now a LIFE staff writer, a big, ducal-looking Bostonian who had written the article (with John Davenport). The friend's suggestion: the Duke of Windsor and Reporter Murphy ought to know each other because 'the Duke is thinking of doing some writing himself.' The result of the delayed meeting (Murphy first spent six months in the Pacific as a war correspondent) was a three-part story, written by the Duke and edited by Murphy, on 'The Education of a Prince.' It was published in LIFE in December 1947...' (Time website, 'The Press: Edward & Wallis', 22 May 1950). The sequel, A King's Story, another collaboration with Murphy, took up the story and was published in book form in 1951. As can be seen from our manuscript, Edward went through the proof with a keen eye, making extensive amendments, correcting facts and deleting certain passages. These deleted extracts, struck through firmly with red pen, show hitherto unseen material that was left out of the published version. A constant theme throughout is the overwhelming sense of duty and responsibility of his position and his frustration at the restrictions this brought, despite a life of privilege: '...the concept of duty was drilled into me and I never had the same sense that the days belonged to me alone... My father literally pounded good manners into us...'. The final words of the piece, written in exile after his abdication, are telling: '...I did not spare myself in striving to fulfil all that was expected of me in the position to which I was born...'.Part I begins with his birth and early childhood, with hazy memories of the elderly Queen Victoria ('...She wore shiny black shoes with elastic sides...') and gives an insight into an idyllic childhood at York Cottage on the Sandringham estate ('...an elegant, undoubtedly paternalistic, and self-contained existence...', the Christmas festivities '...Dickens in a Cartier setting...'). As he grows older, the realisation he is now in the public eye becomes more apparent ('...the most significant change has been the disappearance of privacy... I grew up before the age of photography. We were seldom recognised on the street, and when we were the salutation would be a friendly wave of the hand or, in the case of a courtier or a family friend, a polite lifting of the hat...'). Part II, entitled 'I Edward Prince of Wales' opens with his sorrow at the death of his grandfather Edward VII, a kindred spirit ('...the last Englishman to have an uninterruptedly good time...'), and the coronation of George V which he identifies as a turning point ('...I arrived at the end of my boyhood... Henceforth the demands of my inheritance would press upon me ever more fiercely...'). The final part, 'A Prince at War', covers the war years, with much on his frustration at not being allowed to fulfil his potential as a soldier ('...I was to discover that my trophy value exceeded my military usefulness...'). After the war he devoted himself to what he and his brothers described as 'Princing'. A tour of the country after the war opened his eyes to the poverty and discontent among the people after years of conflict. Despite that, in a letter to George V, he assures him, perhaps ironically in light of future events, that the monarchy is still strong: '...there seems to be a regular epidemic of revolutions and abdications throughout the enemy countries... of those that remain I have no hesitation in saying that ours is by far the most solid...'. Provenance: The Duke (1894-1972) and Duchess (1896-1986) of Windsor; presented by Maître Suzanne Blum, the Duchess of Windsor's French lawyer and executrix, to the present owner who had provided important assistance in the administration of the Duchess's estate.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

ROSSETTI (CHRISTINA)Series of thirty-four autograph letters signed ('Christina G. Rossetti') to Louisa Newsham, invalid and aspiring poet, written over some five years and charting a developing friendship, with Rossetti offering long and detailed critiques of Newsham's work throughout ('...Proclaimest cannot pass muster, I think, in either stanza. Nor do I like 'dearest' applied to Angels, as if giving them preference over saints...'), commenting on her illustrations ('...your 'queen of night in robe of royal blue' - would not a somewhat bluer sky commend itself to the gazer?...'), and on her 'pretty' carol ('...My brother (the poet) would not allow dawn to rhyme with such words as born...'), sympathetic to her ill health ('...I know enough of illness occasionally and of weak health more or less habitually...'), her London home ('...trees on both sides of the house... a source of real pleasure...'), her famous brother Dante Gabriel Rossetti ('...a highly gifted man, and was very attractive withal...'), thanking her for many gifts ('...the beautiful and beautifully packed chrysanthemums with their attendant greenery...'), commenting on the post of Poet Laureate ('...not Mr Ruskin, I wish, as I see no reason why the laurel should leap from poetry to prose however poetical...'), one letter of 10 February 1891 including a poem ('Looking back along life's trodden way'), and much else, each numbered in pencil by Louisa Newsham, no.34 inscribed 'the last' and initialled 'L.N.' on reverse, 105 pages, dust-staining, creased at folds, 8vo (175 x 110mm.), 30 Torrington Square, W.C., 4 February 1889 to 18 May 1894Footnotes:'...I ASSURE YOU MY BROTHER GABRIEL DID, IN OLD DAYS, SO MUCH OF THE SAME KIND FOR MY POEMS... AND HERE I AM AT YOUR SERVICE...': Christina Rossetti advises an aspiring poet.Christina Rossetti describes her relationship with Louisa Newsham in these letters as '...blessed work – blessed to myself... my dear unseen friend...' and her biographer Mary Sandars considered it a '...labour of love... to please and interest an invalid whom she never saw...' (The Life of Christina Rossetti, 1930, p.257). Rossetti usually destroyed her incoming letters so it is often difficult to glean information about her lesser-known correspondents but, in this case much can be discovered about the recipient from Rossetti's replies. It appears that Louisa Newsham lived the quiet life of an invalid in the town of Wisbech, Cambridgeshire: '...It is a sad glimpse you afford of yourself, so suffering and so secluded...', Rossetti writes. Louisa had been moved to write to Rossetti after finding comfort in her poems published in the Watchword (evidently, as shown here, without her knowledge), and sends examples of her own writing to Rossetti for criticism. What is most striking about these letters are Rossetti's careful and extensive replies in which she forensically goes through Louisa's work stanza by stanza and offers her quiet but definitive opinion ('...What disturbs me more is the definiteness of 'daffodils' and comparative indefiniteness of 'flower bells'. Would it be possible and not amiss to substitute for the latter 'silver wind flowers'... Stanza 3 would perhaps gain by changing (l.2) 'streamlets' into 'rivulets', by which means to could be discarded and the 3 lines of the triplet brought into uniformity of the structure...'). She demonstrates the utmost tact and sends her apologies lest her comments offend ('...you must take my criticism only for what it is worth: use it if useful, if not acceptable, reject it without hesitation...'), and cites as an excuse her poet brother Dante Gabriel Rossetti ('...I assure you my brother Gabriel did, in old days, so much of the same kind for my poems, that they came out materially the better for his care...'). Sometimes the encouragement is more guarded ('...Far indeed I am from advising you to thwart your poetic impulse – an undoubted gift for your own solace, and perhaps for the solace of many others...'), but it appears that Louisa did have a long poem published as a devotional greetings card by Mowbray & Co. These detailed letters were written at a particularly busy time for Rossetti, working as she was on an enlarged edition of her poems (1890), The Face of the Deep (1892), Verses, (1893) and a new edition of Sing-Song (1893), as well as managing the household and engaging in extensive correspondence (see Antony H. Harrison, ed., The Letters of Christina Rossetti, Vol. 4, 1887-1894, 2004). From the very beginning they bond over their mutual ill health ('...I have a natural tendency to despondency...') and a love of flowers and nature. Rossetti was the recipient of many gifts of flowers from Louisa over the years ('...Lovely were the flowers when released from their box... I wonder whether your own hands placed the protecting wool round so many of the little choice bunches...'). In return Louisa was sent a photograph of a portrait drawing by Dante Gabriel ('...It was then, I believe, a good deal like me...') together with some autographs including that of D.G. Rossetti and Amelia Opie (not present here). As the relationship develops, more details of the Rossetti household are revealed ('...My home circle is less cheerful than in the old days; consisting as it now does of two very aged Aunts (87 and 80), one bedridden, the other still more seriously diseased. But... I am exactly where I should choose to abide were all the world laid open to my choice...') and her London home ('...not long ago I saw myself described as residing in a dreary London Square; but really I find my... London trees cheerful... I hope you feel the same concerning your moon, stars, sunshine, remote country...'). Her adoption of mourning paper in 1890 and 1893 marks the deaths of her aunts Charlotte and Eliza. All the letters are published in Antony H. Harrison's The Letters of Christina Rossetti, Vol. 4: 1887-1894, 2004, and have been consulted by Rossetti's biographers. Many are undated but have been put into sequence by reference to Louisa Newsham's pencilled numbers on each. The letters derive from the collection of Christina Rossetti's close friend Lisa Wilson but exactly when and how she acquired them is not known. On her deathbed, Rossetti had urged Lisa to be kind and write to Louisa occasionally ('...The announcement of my death may be a shock to her. Write to her at once...', Sandars, p.266). After Rossetti's death, Lisa had requested the return of her own manuscript volume from William Michael Rossetti (see lot 120) and destroyed Rossetti's letters to her to preserve her privacy. She may have requested Louisa return the letters or perhaps she acquired them after Louisa's death. The letters, together with the rest of her Rossetti collection in this sale (see lots 117-121) were passed to her god-daughter Christina Corkran, and has remained in the family since then. Two letters from Rossetti to Louisa dating from 1890 are held in the Wisbech and Fenland Museum.Provenance: Mary Louisa 'Lisa' Wilson (1850-1934, poet, artist and friend of Christina Rossetti); her god-daughter Christina Maude Evelyn Corkran (1903-1979); thence by descent.For further information on this lot please visit Bonhams.com

• BERNARD MYERS (BRITISH 1925-2007) Bernard Myers (lots 139-158)Work and travel in the Middle East and India introduced me to a world of colour. Under the influence of Islamic tiles and textiles, and Indian and Tibetan painting I set out to teach myself colour. My work at this time was mainly abstract and loosely based on astronomical and optical diagrams. Gradually I turned to realism via still life, working very precisely... (Bernard Myers) IntroductionTrained as a gunner in the RAF during the Second World War, Bernard Myers studied at St Martin’s School of Art, Camberwell and the Royal College of Art. Fellow students included John Bratby and Jack Smith, Frank Auerbach and Leon Kossoff. After graduating ARCA in 1954, Myers taught, variously at Camberwell, Hammersmith and Ealing art schools, and was senior lecturer in drawing at the Architectural Association School. He returned to the RCA to teach for the following two decades, punctuated in 1968 and 1971 by stints as Visiting Professor at the Indian Institute of technology, New Delhi. His final teaching post was as Chair of Design Technology at Brunel University (1979-85). Students at the RCA treasured Myers’ good advice. James Dyson remembered him as ‘cheerful, irrepressible [and] rather dapper… with a tweed suit and bowtie…’ But as well as being upbeat Myers was also appreciated for his considerable range of mind and intellect. On being made a Fellow, in his welcome speech the Dean noted that Myers ‘…must without doubt be the most versatile graduate ever to emerge from the Painting School. Since joining the College in 1961 he has been, by virtue of an encyclopaedic knowledge which comfortably bestrides the boundaries between the humane and the technological, and of his superlative gifts as a teacher, in demand by virtually every School and Department within the College…’ The plus side for Myers was that teaching left him free to practise his own art exactly as he wished. As he noted: ‘Some artists find that teaching interferes with their work. I find it clarifies my work.’ Indeed, he had an unstoppable compulsion to paint, incessantly exploring a wide range of subject matter, in particular the landscapes he encountered on his varied travels (lots 151-156), the still-lifes he worked on in his studio (lots 143-150), the nudes he painted in weekly life-classes, and his not infrequent forays into abstraction, precipitated in part by his fascination with space (lots 139-142). He married Pamela Fildes, grand-daughter of the painter Sir Luke Fildes in the early 1950s; they lived first in Windsor and then in Kensington before moving in 1974 into one of the studios overlooking the Thames at St Peter’s Wharf, purpose built by Julian Trevelyan, next to Hammersmith Terrace (lots 157 &158). He had several one-man shows in the West End, the first at the New Art Centre in 1969; his last with Austin Desmond Fine Art in 1991. He wrote two books on Goya, others on the history of sculpture and How to Look at Art, and co-edited The Macmillan Encyclopedia of Art (1979). He also penned articles for The Artist (May 1988) on his highly original approach to pastel (lots 139-142 & 147-150), and Artists and Illustrators (1995) on his Venice views (lots 151- 154).139BERNARD MYERS (BRITISH 1925-2007)PLANETARY COMPOSITIONS I & IIoil pastel on thin paper(i) 56 x 43cm; 22 x 17in (ii) 43 x 56cm; 17 x 22in (both unframed)(2)

• ROSE HILTON (BRITISH 1931-2019) Rose Hilton (lots 175-182) You have to give a lot to painting. It's not something you can just dash off. You have to take risks - risk ruining it. You have to know when to stop. Rose Hilton Introduction Rose Hilton (née Phipps), along with her seven siblings, was brought up by strict Plymouth Brethren parents in Kent. Studying at Beckenham Art School after the Second World War she had been expected to go on to train as a teacher, but secretly applied to the Royal College of Art and was awarded a scholarship, much to the consteration of her parents. In her RCA cohort was Peter Blake; on the year above was Frank Auerbach. The college's focus on figurative work suited Hilton and she graduated in 1957 with a first class degree and prizes in painting and life-drawing. Rose fell for Roger Hilton in 1959, introduced by Sandra Blow. She called him her 'Jesus of the art world'. They had a son - Bo - in 1961, married in 1965 and set up home together in three 19th century crofters cottages high on the cliff tops at Botallack, West Cornwall. There, John Wells, Peter Lanyon, Terry Frost and Patrick Heron were in their circle of artist-friends. But Hilton decreed that there was only room for one artist in the household and forbid Rose to paint. Instead she focused on raising her family and supporting her husband. But following Hilton's death in 1975, Rose returned to painting and two years later had her first solo exhibition at the Newlyn Gallery. The house became a hive of activity, described as ‘chaotic’ by many, there were always people coming and going, and frequent parties. A conservatory was added which became her studio, providing the perfect light in which to work. The tranquility of the space suggested the luminous interiors of work by Bonnard, his use of light in his interiors greatly influencing Rose's style. As Ian Collins noted 'Rose had alsways loved the intimacy and accessibility of Bonnard's brilliantly lit domestic interiors... particularly the glowing and jewel-like effects that can be achieved through layers of underpainting, a technique she has always loved' (Collins, Rose Hilton, London, 2016). Although she used professional models, she preferred to ask friends and family to sit for her. Typically she focused on the shape of the person rather than their physical identity (lots 176-181). Much of her later figure work is more abstract, the figure not necessarily taking centre stage in the composition, but being one element of many.175ROSE HILTON (BRITISH 1931-2019)STILL LIFE WITH FLOWERS IN A VASEsigned Rose / Hilton lower right oil on canvas board 50.5 x 40.5cm; 19 3/4 x 15 3/4in (unframed)

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL LIFE, YELLOW ROSEoil and pencil on board71 x 35cm; 28 x 13 3/4in73.5 x 37cm; 29 x 14 1/2in (framed)Painted in 1976.ExhibitedFrankfurt am Main, Kommunale Galerie im Refektorium des Karmeliterklosters, Max Beckmanns Frankfurter Schüler 1925-1933, 1980-81, no. 81 (erronesously dated 1979)Schlenker no. 253

• HANS FEIBUSCH (GERMAN-BRITISH 1898-1998) STILL LIFE WITH GOLDFISHoil on canvas 76 x 51cm; 30 x 20in89 x 64cm; 35 x 25in (framed)Painted in the 1930s.

• BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH DAFFODILS AND TWO ORANGESoil on board30.5 x 40.5cm; 12 x 16in(unframed)With the studio inventory number 0378 on the reverse

• BERNARD MYERS (BRITISH 1925-2007) STILL LIFE OF ANEMONES IN A JUGoil on board61 x 51cm; 24 x 20in (unframed)With the studio inventory number 0316 on the reverse

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL-LIFE WITH BOOKS, ROSES AND RECORDERoil on canvas33 x 48cm; 13 x 19in(unframed)Painted in 1982.LiteratureJill Lloyd, The Undiscovered Expressionist, A Life of Marie-Louise von Motesiczky, London, 2007, p. 219 (titled Still life with books, roses and flute)Schlenker no. 275

• BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH IRISES IN A CHINESE VASEsigned B Myers lower leftpastel on paper56 x 76cm; 22 x 30in(unframed)With the studio inventory number 1068 on the reverse

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL LIFE WITH FLOWERS oil on canvas36 x 40.5cm; 14 1/4 x 16in(unframed)Painted in the mid-1990s, Schlenker notes that this is one of Marie-Louise's most abstract works in which she depicts an expansive bunch of sweet peas and gypsophila, probably from her garden. Schlenker no. 327

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL-LIFE WITH RHODODENDRON BRANCH oil on canvas30 x 40.5cm; 12 x 16in(unframed) Painted in 1979. Schlenker no. 262

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL-LIFE, RED ROSEoil on canvas35 x 45cm; 13 3/4 x 17 3/4in49 x 59cm; 19 1/4 x 23 1/4in (framed)Painted in 1961.Schlenker no. 176

• BERNARD MYERS (BRITISH 1925-2007) STILL LIFE WITH ROSES IN A VASE AND FRUITsigned B Myers lower rightpastel over crayon on paper56 x 76cm; 22 x 30in(unframed)With the studio inventory number 1079 on the reverse

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL-LIFE, CANDLES, VASE OF ROSES AND CHAIRoil on canvas58 x 45.5cm; 23 x 18in(unframed)Painted circa 1980.Schlenker no. 302

• BERNARD MYERS (BRITISH 1925-2007) STILL LIFE OF YELLOW ROSES IN A VASEsigned with initals lower leftoil on canvas41 x 50.5cm; 16 1/4 x 19 3/4in (unframed)With the studio inventory number 0304 on the reverse

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) STILL LIFE WITH STRAWBERRIES AND CREAMoil on board37.5 x 36.5cm; 14 3/4 x 14 1/4in(unframed)Schlenker no. 332

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) FRUIT AND ROSEoil on canvas50.5 x 35.5cm; 20 x 14in63 x 48cm; 24 3/4 x 19in (framed)Painted in 1991, a photograph, probably taken by the artist, records the present composition: a single rose in a vase with fruit and flowers in a basket arranged on the draining board adjacent to the sink in the scullery at Chesterford Road, Hampstead (Schlenker p. 501). The photograph, together with the domed wire-mesh food cover which can be glimpsed behind the fruit basket, are now in the Motesiczky Archive in Tate Britain. ExhibitedManchester, Manchester City Art Galleries, Marie-Louise von Motesiczky, Paintings 1925-1993, 1994, no. 34 (titled Still Life with White Rose)Schlenker no. 314

• MARIE-LOUISE VON MOTESICZKY (AUSTRIAN-BRITISH 1906-1996) DAFFODILS AND NARCISSIsigned and dated Motesiczky 1991 lower leftoil and charcoal on canvas51 x 76.5cm; 20 x 30in63 x 91cm; 26 x 36in (framed)Painted in 1991, the brushes placed against the round vase on the right suggest that the present work was painted in the artist's studio at Chesterford Gardens, Hampstead. ExhibitedManchester, Manchester City Art Galleries, Marie-Louise von Motesiczky, Paintings 1925-1993, 1994, no. 33 (titled Still Life with Narcissi)Schlenker no. 312