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19thC oil on board still life study of a glass filled with flowers, 37 x 30cm, in period gilt frame

A large gilt framed still life oil on canvas signed I. Howard, frame size 66 x 78cm.

A Wardale (19thC School). Floral still life, with lilies and vines, oil on canvas, signed and dated 1898, 96cm x 33cm, in gilt frame.

Wilham (20thC School). Fruit and flower still life, signed, oil on canvas, 40cm x 49cm, in gilt frame.

Mattioli, Pietro Andrea [Andrew Fletcher of Saltoun] Commentarii in sex libros Venice: Vincenzo Valgrisi, 1565. Folio (363 x 245mm), [86] leaves, 1459, [1] p., [6] leaves; full-page woodcut portrait of Mattioli, numerous page-width woodcut illustrations of plants, flowers and animals, woodcut printer's device on title-pages and final verso, woodcut initials, contemporary vellum with manuscript title to spine, bookplate reading 'GOM' to paste-down endpaper, early ownership signature of Andrew Fletcher of Saltoun to title-page, a few very neat annotations to index in an early hand, ties lacking, covers a little soiled A tall fine copy of the monumental edition of the most important medico-botanical encyclopaedia of the sixteenth centuryNote: "First enlarged edition... the 1565 edition is the first augmented by Mattioli's fuller notes and has always been the most valued for its completeness" (Hunt). Although Mattioli wrote on a range of subjects, and published translations of non-medical works, he is most celebrated for his work on botany and medicine, and of these works his best known are his translations of, and commentaries on, Dioscorides' De medica material. Mattioli's first Italian translation from the Greek was published in Venice in 1544, and its 'original purpose was relatively modest: it was to provide doctors and apothecaries with a practical treatise in Italian with a commentary that would enable them to identify the medicinal plants mentioned by Dioscorides' (DSB IX, p.179). Further, expanded editions followed in 1548, 1550 and 1552, and the success of these editions, led Mattioli to translate the work into Latin in 1554. This translation was "enriched by synonyms in various languages, provided with a special commentary, and accompanied by numerous illustrations valuable for the identification of Dioscorides simples [which] rendered the work accessible to scholars throughout Europe. From then Mattioli's name was linked with that of Dioscorides" (DSB IX, p.179). In addition to identifying the plants originally described by Dioscorides, Mattioli added descriptions of some plants not in Dioscorides and not of any known medical use, thus marking a transition from the study of plants as a field of medicine to a study of interest in its own right. In addition, the woodcuts in Mattioli's work were of an extremely high standard, allowing recognition of the plant even when the text was obscure. A noteworthy inclusion is an early variety of tomato, the first documented example of the vegetable being grown and eaten in Europe. This wealth of additional material transformed Dioscorides' work from an antiquarian text into a contemporary physician's vade mecum, enhanced by Mattioli's own observations and many of his own drawings, which remained in print virtually continuously until the 18th century. The 1565 edition, described by Brunet as 'la plus estimée', is considered the best for both its illustrations (first used here in a Latin edition), and text. The fine woodcut illustrations extend across the full width of the page: those of plants are by Giorgio Liberale and Wolfgang Meyerpeck (originally cut for Mattioli's New Kretterbuch (Prague: 1563), with the exception of 'Eruca sylvestris') and 'those of the Animals are new' BM(NH). Reference: Hunt 94. Provenance: Andrew Fletcher of Saltoun. The library of Andrew Fletcher of Saltoun (1653-1716) was the largest private collection of books in Scotland at the turn of the seventeenth and eighteenth centuries. It is significant both in itself and because of the life of its owner. Of a legal and landed family - the estate of Saltoun lay not far from Edinburgh in the fertile country of East Lothian - Andrew Fletcher is famous in his own country as a consistent and eloquent opponent of the Union with England in 1707, a stance for which he became known as "the Patriot". But he was also a political thinker of intelligence and originality, author of a series of tracts on militias and standing armies, on the economic and social condition of Scotland, on the issues facing the Scottish parliament before the Union, and, more generally, on the political prospects of Europe and its smaller states in particular in the face of the ambitions of Louis XIV. Informing both his political and his literary activity was a lifetime of travel, much of it in the Netherlands (and some of it in enforced political exile), but extending to France, Spain and Germany, and possibly further afield still (Fletcher spoke and wrote Italian). It was almost certainly on these travels that Fletcher acquired the greater part of his library. [Willems, P.J.M. Bibliotheca Fletcheriana, or the Extraordinary Library of Andrew Fletcher of Saltoun, Reconstructed and Systematically Arranged. Wassennar, 1999]

20th century school, oil on board, still life of flowers, indistinctly signed, 31cm x 40.5cm, framed and glazed

Continental 19th/ early 20th century school, oil on board, still life, 20cm x 30.5cm, indistinctly signed to lower right, framed and glazed.

Josephine Ghilchik (1890-1981), 20th century school, oil on board, still life, daffodils, 35.5cm x 46cm, signed to lower right, framed and glazed.

Collection of pictures, to include A.B. Atwell, still life watercolour of roses, wool work embroidery of flowers, a Hogarth engraving "The Morning" in oval gilt frame, coloured print of Alice Blue Gown, printed by Knapp and Co. Inc., New York, and Pears print of an interior scene, with a seated couple at the table, housed in maple veneered frame (5)

AN UNFRAMED UNSIGNED OIL ON BOARD STILL LIFE STUDY OF FRUIT AND VASES ETC. 55CM X 75CM

A COLLECTION OF STILL LIFE WATERCOLOURS TOGETHER WITH A ROBERT MORTON WATERCOLOUR OF A BIRD OF PRAY AND A COLLECTION OF NEEDLEWORKS OF TIGERS (9)

THREE UNFRAMED OILS ON BOARD TO INCLUDE A TABLETOP STILL LIFE STUDY SIGNED MAUREEN GIBSON, LANDSCAPE WITH BRIDGE ETC.

Sale Item: OIL PAINTING-STILL LIFE FLOWERS (AF) Vat Status: No Vat Buyers Premium: This lot is subject to a Buyers Premium of 15% + Vat @ 20% Additional Info : Lots purchased online with the-saleroom.com will attract an additional charge for this service in the sum of 4.95% of the hammer price plus VAT @ 20%

Kevin Devonport, "Another Rubbish Painting", oil on canvas board, 45 x 55cm, c. 2021. A colourful still-life of packaging. Companies invest large sums of money to attract customers through packaging, the very nature of this packaging is for its aesthetic value. Professionally framed in white mat Single border frame. Free UK shipping.

RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled.Wax on paper.Slight damage to the frame.Signed in the lower right corner.Measurements: 30.5 x 20 cm; 45.5 x 34 cm (frame).Rafael Alberti was a writer and poet belonging to the Generation of '27, considered one of the greatest writers of the so-called Silver Age of Spanish literature. He received numerous prizes and awards, including the National Poetry Prize (1925), the Lenin de la Paz (1965), the National Theatre Prize (1980), the Cervantes Prize (1983) and the Roma Prize for Literature (1991). He renounced the other great Spanish literary award, the Prince of Asturias, because of his strong republican convictions. Rafael Alberti's first vocation was painting, but his real discovery of this art came in 1917, when he moved to Madrid with his family and visited the Prado Museum for the first time. He first exhibited his work in 1920 at the Salón de Otoño in Madrid, and two years later he exhibited at the Athenaeum in the same city. His painting was characterised by the fact that it was not his definitive path, since after the death of his father, he began to write his first verses. As a writer, Alberti enjoyed great success from the beginning of his career, but at first his success was linked to artistic prestige, as he was still financially dependent on his family. The new literary magazines accepted and wanted to publish his works. He was also beginning to make friends within the circle known today as the Generation of '27. He began to write in a style that was not only more formally demanding, but also allowed him to be more satirical and dramatic. From then on, his life gradually opened up to what would become the centre of his inspiration, poetry, without ever completely abandoning his vocation as a painter. Among his last works is A la pintura ('On Painting') (1945). These reflect his intellectual activity during his exile, as Alberti returned to painting and began a series of poems to bring together his thoughts on painting. A subject to which he continued to devote himself for many years. Among these poems dedicated to painting he wrote a series of sonnets on the retina, the hand, the canvas, the brush, etc.; a series of short poems in free verse on colours; and finally a series of poems in homage to various painters such as Titian, El Greco and others.

FRANCISCO RODRÍGUEZ RUIZ (Zujar, Granada, 1982)."Still life with pencil case".Acrylic on panel.Signed in the lower corner.Measurements: 82 x 116 cm; 89 x 123 cm (frame).We are dealing with a painter with a realistic technique but who takes his inspiration from dreams and memory, as he himself states: "Sometimes I go back to known landscapes that sleep inside me, the dream of memory. And it is childhood with its games full of everyday and fantastic objects. And it is the longing for that which I have left behind and which appears to me more vivid than ever in the landscape of memory". Self-taught, Francisco Rodríguez Ruiz studied at the School of Arts and Crafts in Terrassa, and Aerography at the School of Joso. Solo exhibitions (selection): 2014 Paisatges de la memoria, Auditori municipal Montcada i Reixac, 2013 Galeria Nova-3, Intel-lecte Sabadell, 2012 Galeria Nova-3, Intel-lecte Sabadell Aguilart Galeria d'art, Castellar del Vallés, 2011 "De vegades... Somnis" Galeria ART 7, Manresa "Sueños y Recuerdos" Galeria Aguilart, Castellar del Vallés, 2005 "Perspectiva desde la mirada", Casa Soler y Palet, Terrassa. 2002 Joan Costa Foundation, Hospital de Terrassa 2000 Sala de cultura, Zújar Town Hall, Granada. Group exhibitions (selection): 2018 Acquisition of work, Castellar del Valles City Council; Spring Collective, Granadacapital Gallery, Granada; Collective of hyperrealist painters, Subex Gallery, Barcelona. 2017 Something more than realism, Artelibre Gallery, Zaragoza. Collective exhibition of hyperrealist painters Galeria Subex Barcelona.

JAMES HENRY: (1843-1916) American-born British author. A.L.S., Henry James, six pages, 8vo, Pall Mall, London, 13th November 1911, to Doctor [Joseph] Collins, on the blind embossed stationery of The Athenaeum. James announces 'Your most kind note from the ship does me a world of good, & your guarantee of my appearance of being so well contributes immensely to establish the reality - is in fact quite life-giving' and continues 'The great thing is that I have made so much my own way to it - giving me the sense that I can therefore myself work out what remains (for there still remains something) of the job. And I have a faint hope & faith that I shall see you here again…..I liked so your presence & our talk of the other evening, with things so many, into which I should have liked to go with you deeper. But that will come'. In a two page postscript, signed ('H.J.') by James with his initials, the author informs Collins 'I shall have to send this to the Joneses to pass on to you - it's an illustration of the way that so many American impressions & facts (local & national) fade away & dissolve (from the "European mind") that I have managed to forget all the numerals in both your addresses - so colourless are American addresses "anyway"! I have yours inscribed, but my little book is not at hand'. VGDuring an extended visit to the United States in 1910 & 1911, James had sought the advice of physician Joseph Collins for methods of losing weight and also the treatment of his 'evil times' (what would now probably diagnosed as depression) following the death of his brother, William.

DICK PHILIP K.: (1928-1982) American science fiction writer whose novel Do Androids Dream of Electric Sheep? (1968) was adapted for the cult movie Blade Runner (1982). A remarkable collection of six T.Ls.S., love, Phil, each with a small drawing of a heart and arrow in his hand at the side of the signatures, twenty-one pages (total), 4to, n.p. (Santa Ana, California), February 1981, all to Professor Patricia Warrick (‘Dear Pat’). Over a period of just a few days Dick writes at great length to his correspondent (three of the letters written on the same day, 14th February, of which one runs to seven pages) and discusses various topics including his VALIS trilogy, Christianity and religion, philosophers including Plato, Plotinus, Dante, Malebranche, Kant, Mercia Eliade and others, American politics (likening the United States President to the ‘grim king’ who must be overthrown), reincarnation, the occult, consciousness of time, the films Star Wars and All That Jazz and other subjects, perhaps most importantly the series of mystical experiences he faced in 1974.Brief extracts from the letters include –‘I just reread VALIS in its entirety. I now understand. There is another “time” or reality; it does not lie in the future…..Like the dream-time (perhaps because it is the dream-time) it is now and it is here. It is disclosed by sacrament and by God’s grace through revelation – revelation of Christian apocalyptic history, exactly as I saw. In this other time (illo tempore) Christ is present, but in our linear flux time he is not and, perhaps, never will be. This is exactly and precisely what February 1974 to February 1975 consisted of……The two times or realms bear some kind of relation to each other; in some way they interact (or have a common basis), but I can’t say how. This explains why I “remembered” in February 1974 when I saw the golden fish sign…..It is world as God’s plantation, and the whole story is in VALIS. The search at the end for the savior is a search by Fat (myself) to find the way back to that world, misconstrued in terms of space, and in terms of time….VALIS was Christ, but the question as to whether I went there or he came here totally baffles me…..The faith that Fat and Phil feel at the end of VALIS is the only route; it must be absolute, unfailing and eternal; and yet still God’s grace is necessary if the savior is to be “found”. VALIS is a valid, true, accurate and sufficient account of participation in this other time or realm where Christ is rather than is not…..As Plotinus says, this is not a journey through space; it is a journey from a lower realm to a higher one. All this is very strange, but I know it absolutely upon rereading VALIS.  I know it but I can’t explicate or propound it; yet what I say is true…..VALIS, then, is an extraordinary and extraordinarily important record of this finding of this other reality, realm, world of time. I repeat: beyond doubt, what was found is absolutely real’. (10th February 1981) ‘When I reread VALIS the other day…..there was something else I noticed, something I had not realised was there. A coherent system for political action of a revolutionary nature can dimly be apprehended through the obscuring layers of philosophy and theology and science fiction. I am wondering, therefore, what effect – if any – VALIS will have on born-again Christians, inasmuch as they are into apocalyptic speculations – as my novel is. Just as in Revelation “Babylon” is identified as Rome, I go on and identity “Rome” as the imperial American Presidency. I bipolarize true Christianity to this modern-day Rome and stigmatize the American Government as the incarnation and physical manifestation of Satan…..In fact, VALIS seems to me to be a very political book – virtually a manifesto and to a certain extent even a handbook of rebellion…….Deconstructed, VALIS, then, is a political novel, more so than any I’ve previously written. What apparently happened in March 1974 was that my political views and my religious inclinations and convictions, which up to then were at odds, fused as thesis and antithesis in me into one higher synthesis, so that my theology can be said to have explicit political implications, or it can with equal accuracy be said that I now see my political views as emanating from divine authority, represented in VALIS by Sophia and of course by VALIS itself in the movie Valis. Which is to say, its successful attack on and overthrow of Nixon……Once again my right hand did not know what my left hand was doing. I thought I was writing a theological, philosophical novel; but, as I say, in view of the regime that has just now come to power here in the U.S., VALIS can be interpreted as a call for political action against that regime, and not limiting itself to legal acts. It is as if upon experiencing a Christian conversion (March 1974) I then went on and wrote the political novel that up to then I had always been afraid to write – wanted to write but feared to……Oddly, VALIS, then, is the reverse of FLOW MY TEARS, wherein the overt or external or outer or exoteric message is political…..VALIS appears to be theological and yet carries a covert message in which violent revolution against the regime is preached…..What is strange is that in writing VALIS I was totally unaware that I was preaching revolution, the same revolution I have always preached; but, now possessing divine sanction, in fact divine authorship, I was free (as I say) for the first time to come forth and preach it openly…..I am, frankly, very joyful that I got such a radical political novel published – in the guise of a theological-philosophical sci-fi novel……So I guess I experienced what Jung calls “the reconciliation of the psychic opposites”, this being what March 1974 was all about; the opposites (politics and religion) were fused into a higher synthesis…..and out of this came VALIS. When one reflects on the current political climate, VALIS is extraordinary indeed, and very much needed’ (12th February 1981) ‘I wish to put forth a very powerful argument regarding the spiritual, psychological effect of apprehending the Forms through anamnesis, because I now understand – I think – what the mind of the percipient fathoms when he apprehends that Forms exist, and apprehends them specifically through anamnesis: the loss of amnesia and hence the recovery of prenatal memories. It is pointed out somewhere in my reference books…..that a recollection of a former life or even of several or many former lives is not a guarantee of immortality. This is a logical error often made; viz: if I lived before this lifetime I will therefore live again after this lifetime. But this does not follow; this lifetime could be the final one…..This is why occult books dealing with reincarnation are really not worth anything….. (13th February 1981) Each of the letters are accompanied by the original envelopes. A remarkable series of letters, rich in their content. VG to about EX, 6RESTRICTIONS IMPOSED BY THE SALEROOM MEAN THE COMPLETE DESCRIPTION CAN'T BE DISPLAYED. PLEASE CONTACT US FOR FURTHER INFORMATION

‘I am best known for explorations in Antarctica’MAWSON DOUGLAS: (1882-1958) Australian geologist and Antarctic explorer, a key expedition leader during the 'Heroic Age of Antarctic Exploration'. An excellent T.L.S., Douglas Mawson, one page, 4to, Adelaide, 30th October 1947, to Henri Cobiere (sic), on the printed stationery of the University of Adelaide. Mawson responds to his correspondent's enquiries and states, in part, 'My student days were a period of serious study and constant toil for owing to strictly limited finance, every post had to be a winning post. However, study was always made easy for me on account of an insatiable interest in all forms of knowledge, but especially in solving problems. For me, advance in science was solely by results achieved in the laboratory and in explorations in little known areas. I am best known for explorations in Antarctica. First in 1907-09 with Sir Ernest Shackleton: Later as organiser and leader of the Australasian Antarctic Expedition of 1911-14; still later as commander of the British Australian New Zealand Antarctic Expedition of 1929-31. However, geological investigations in diverse localities in Australasia have occupied most of my life. Studies of glacial phenomina both in the glaciated regions of today and also in connection with evidence of glaciation recorded in the geological strata of past ages are perhaps my most important contributions to science.' A letter of very fine content. About EX

[PRISONER OF WAR]: An A.L.S., Eddie, by Private Edmund W. Trimmer, serving with the Royal Army Medical Corps of the British Army and captured in France as a Prisoner of War in June 1940, one page (folding Kriegsgefangenenpost stationery), slim 4to, Stalag XXI-D (Poznan, Poland), 22nd February 1943, to Miss. Sheila Carter, in pencil. Trimmer states that he is waiting for a letter from his correspondent ('I seem to get letters from everyone else except you, but still, I suppose I must have a little patience'), explains that he is keeping fit and well and continues 'You did not mention anything about 'stripes' in your letter. How many?! But still, joking apart, are you enjoying your new life, or are you finding it a little boring? No doubt, you find life a little more interesting than I do at the present time. And talking about the 'present time' (please don't think I am being sentimental, because I have forgotten how to be!) but for about the last four or five weeks I seem to think of nothing else but you. I just can't seem to get you out of my mind. Anyhow, your photos have received a little more attention than of late. Well, that's that, I am still keeping my studies going as it seems to hold a good future after the war'. Hand addressed by Trimmer to the verso. Together with a pre-printed Field Service post card issued by the Royal Air Force, completed and signed by Trimmer, 6th April 1940, indicating that he is well and that a letter will follow at the first opportunity, hand addressed to Miss. Sheila Carter to the verso, and also including a sepia postcard photograph of Trimmer and five other officers, standing and seated together outdoors in two rows, with Trimmer's holograph name, Prisoner of War number and address at Stalag XXI-D to the verso, also addressed to Carter, and further including a printed 8vo leaflet issued by the General Post Office in December 1940 and titled Communication with Prisoners of War Interned Abroad. Some light age wear, generally VG, 4

VIGO JEAN: (1905-1934) French film Director. His poetic realism influenced French New Wave films in the 50´s & 60´s. Vigo´s father, the anarchist Miguel Almereyda, was imprisoned and murdered when Vigo was only twelve and sent to boarding school under the assumed name of Jean Sales. Vigo would be marked for the rest of his life by this violent loss. Very rare A.L.S., Jean Vigo, one page, to a postcard photograph, Nice, 3rd October 1930, to Madame de Saint-Prix, in French. Autographs of Vigo are rare and desirable as a result of his early death due to tuberculosis at the age of 29. Vigo refers to his very first and best known film A Propos de Nice (1930), stating `Je suis heureux de vous dire qu´A propos de NICE passe actuellement aux Ursulines, et qu´un sort meilleur lui semble encore reservé par la suite..´ (“I am happy to tell you that About NICE is currently shown at the Ursulines, and that a better fate still seems to be predestined for future”) To the front the postcard image shows an image of the marine cemetery of the city of Sete, with a printed poem of Paul Valery to the upper left corner. Postmarked and stamped. Small overall age wear, otherwise G The letter is most probably addressed to Pierre de Saint-Prix´s wife. Pierre de Saint-Prix (1901-1994) Journalist, Writer and Prefect of Drome after the liberation. Saint-Prix was the grandson of President of the republic Emile Loubet.

JOACHIM JOSEPH: (1831-1907) Hungarian violinist, conductor and composer. A.L.S., Joseph Joachim, two pages, 8vo, n.p., n.d. (annotated 1872 in another hand), to Mrs. Benzon, in German. Joachim politely declines an invitation, writing 'On Sunday, to celebrate the 200th (!) Monday Popular Concert, there is a dinner I can't miss. I had suggested another day but unfortunately Sunday is the only day that suits everyone involved and so I respond to your kind message as to whether I will come to your dinner with 'no', much as I would appreciate the opportunity to correct my lack of dependability and punctuality!', however further adding that he still hopes to be able to come 'since Chappell's dinner is at 6 o'clock; I can make my evening visit to you afterwards' and concluding by mentioning that he has been back to Edinburgh and is now going to Brighton. A couple of very minor, small traces of former mounting, VG The Monday Popular Concerts, which were begun in 1858 and held at St. James's Hall, London, were among the most influential 19th century musical events and attracted the finest British and international musicians, among these Joachim, who was an annual visitor to England from 1862 onwards. His appearance at the Monday 'Pops' and other concerts in London and the main provincial towns was a regular feature of British musical life. Provenance: From the Pencarrow Collection previously sold at Sotheby's, 8th December 1999 (lot 193) where acquired by Dr. Chonon Elkan Lewis (1931-2020) English physician, violinist and composer, appointed Honorary Physician to the musicians of the Philharmonic Orchestra.

INNOCENT IX: (1519-1591) Pope of the Catholic Church and ruler of the Papal States fin 1591. His papacy lasted only two months, one of the shortest ever. Born Giovanni Antonio Facchinetti. Extremely rare L.S., only three documents signed by him have ever been recorded in private hands, signed `G.A. Car.l S.ti-Quattro´, (“G.[iovanni] A.[ntonio] Car.[dina]l S.[an]ti-Quattro”), Cardinal of the Roman Basilica Santi-Quattre-Coronati,one page, folio, Rome, 24th September 1588, addressed to the Vice-Legate of Bolonia, in Italian. The future Pope Innocent IX tries to appoint the uncle of one of his subordinates, member of the powerful Inquisition, into the “Compagnia de Salaroli”, stating in part `Intendo che alli mesi passati Messer Evangelista Salicini, zio di Mons.r Salicini che fatica (sic-lavora assidumente) nel S.t Officio, renuntiò il luogo del numero de gli honorevoli huomini della Compagnia de' Salaroli a Ms Hercole, suo figliolo, il quale hora è passato da questa vita  et desiderando esso Ms Evangelista rihaver in persona sua il detto luogo, che per cento et più anni è stato in diverse persone della sua Casa, ritrova in ciò difficoltà per molte prattiche fatte in servitio d'un fumante, ch'è - siccome mi vien detto - incapace del luogo per i Statuti della Compagnia..´ (“I mean that Messer Evangelista Salicini, uncle of Mons.r Salicini who works assiduously in the S.t Officio, takes the place and number of the honoured man of the Compagnia de 'Salaroli, Mr Hercole, his son, who has now passed away from this life and since he wishes Ms Evangelist to have in his own person the said place…”) The letter bears to the verso a paper seal affixed, and alongside a draft manuscript in the hand of Anselmo Dandini which was going to be his response to Innocent IX. According to this draft letter, Dandini was pleasing Innocent IX request. Small overall age wear, otherwise G The present letter is addressed to the Vice-Legat of Bolonia, Anselmo Dandini (1546-1608) Jurist and former Apostolic Nuncio in France. Dandini was replacing Alessandro Damasceni Peretti (1571-1623) a nephew of Pope Sixtus V, and future Cardinal at the early age of 14. Well remembered for his impressive bust done by Gian Lorenzo Bernini. Giulio Cesare Salicini (1541-1606) Jurist and member of the Inquisition. Bishop of Rimini from 1591. The Company Salaroli was founded in 1376 and was the original producer, and still is at today´s date, of the worldwide famous Mortadella of Bolonia.

STROUD ROBERT: (1890-1963) American Prisoner and Ornithologist, known as The Birdman of Alcatraz, and considered to be one of the most notorious criminals in American history. A.L.S., Love, Bob, Robert Stroud #594, two pages, 4to, Alcatraz, California, 6th August 1954, to his sister, Mamie Stroud. Writing in bold pencil, Stroud acknowledges receipt of his sister's letter and continues 'I also had a long sales letter from Marc this evening. The second I have had this week, but can't say that I am feeling any better about the whole situation. I do not think that he has fouled things up intentionally, that is, not consciously so, but it amounts to the same thing anyway, and the sad part of it is that he has really worked hard and spent a lot of money, but I cannot get him to carry things through to the end nor can I breaking of the bad habit of consistently lying to me, when the truth would serve his purpose a lot better. So I am still thoroughly dispirited about the whole thing. He now says that he will have the book ready to send in in November, and it will be out in the spring, but I cannot see where I am ever going to get anything out of it, so I am probably a fool for not calling the whole thing off now. Which is what I should have done years ago'. Stroud also writes of his health, 'Physically I have been feeling pretty good the last few weeks, but I have not been sleeping much. I had about four hours last night, which is the most of any night this week. I never did require a great deal of sleep, but when I do not get that little that I do require, it gets me down' and of his activities within prison, 'I have been reading all week on a French book, La Commune, which is the 4th book of a series dealing with the conditions in France leading up to, during and following the war of 1870…..This is a phase of history with which I was not very familiar, and it is one with which it would profit a lot of people in this country to be more familiar. It is from this set of circumstances that the communists take their name, although it was not until years later that the name was used in this country. Commun (spelled without an e on the end) means common in French, and what we call a city council is there called the common council or commune (spelled with an e). What we call communist today was at that time in France spoken of as members of the society international de oeuvres, or the International Society of workers. In England and the United States up until the First world war it was known as the 3rd International Trade Unions Congress. In 1871 the city of Paris, disgusted with 21 years of treason and inefficiency which led to defeat by Germany……refused to give up its arms and fought a war against the national government, and many of the disgraceful conditions that led to that cruel and bloody impasse exist in this country today. The difference being Paris, which is different from any other city in the world, because for a thousand years it has attracted to it the most independent thinkers of the world, who have always been ready to fight for their rights….' Also signed in the return address panel at the head of the first page. VG Stroud served seventeen years of his life imprisonment at Alcatraz from 1942-59 and was allowed access to the prison library where he began studying law.

[WARHOL ANDY]: (1928-1987) American artist, a leading figure in the pop art movement. Warhol's personal 14K gold open face pocket watch by E. Howard & Co., Boston, measuring 1.75" in diameter, with an opening hinged glass cover to the front, the watch face on a second hinge to reveal the inner working mechanism and the inside of the back casing engraved with the makers name, serial number (148873) and 14K mark. The back of the outer casing is attractively engraved with a monogram. Contained in a modern black watch case. VG Provenance: The pocket watch was acquired by our vendor at The Andy Warhol Collection auction held by Sotheby's, New York, 23rd April - 3rd May 1988 (Collectibles, Jewelry, Furniture, Decorations and Paintings, 24th - 26th April 1988, lot 619) and their lot label tag is still adjoined to the watch with string. The complete set of auction catalogues (6 vols) for The Andy Warhol Collection is also included in the present lot. E. Howard & Co. was a clock and watch company formed by Edward Howard and Charles Rice in 1858, after the demise of the Boston Watch Company. Howard was to buy out Rice's interest and thereafter sought to make high quality watches based on his own unique designs and eccentric production methods (a factor which, perhaps, Warhol appreciated). 'After his death in 1987 from complications following gallbladder surgery, 313 watches were found at Warhol's East 66th Street townhouse and sold at Sotheby's the following year in a landmark 10-day auction, along with over 10,000 other objects. It was the first time such a sizable cache of fine watches belonging to the same owner had come to market, and it captured the imagination of collectors worldwide. Value was no longer attached solely to the build of a timepiece; price could now be magnified by the object's journey. It sure helped that Warhol had an astute eye as well as an adventure-packed life. Markedly different from the pop aesthetic he had championed, the watches were classic and refined. And unlike the to-and-fro of his iconic silk screens at auction, the watches seldom reappear to feed an ever-hungrier market' (from 'Oh, Yeah. I have Some of Those': How Andy Warhol Amassed One of the World's Most Formidable Watch Collections', by Mark C. O'Flaherty, published in the RobbReport, 14th November 2020)

A contemporary watercolour study - Still life of flowers in a vase, indistinctly signed, 92 cm x 64 cm.

PHIL MONK (1946-2021). Black & white photograph of a lady with cube, 19” x 15”, signed in pencil to mount & dated ’96, framed & glazed (28” x 23” over-all); & a coloured still life print after Sarah Biber, in glazed frame, 25½” x 33¼”.

Rolling Stones LPs, eleven albums comprising Sticky Fingers, Some Girls, Goats Head Soup (with Inner and Insert), Through The Past Darkly, Get Yer Ya Ya's Out, Emotional Rescue (with Poster), Still Life, The Rolling Stones (Pic disc), Precious Stones (Pic disc), It's Only Rock n Roll and Story of the Stones - Get Yer Ya Yas VG+/VG, the rest all mainly Excellent to EX+

British Society of Cinematographers Technical Award plus, The B.S.C. 'Bert Easey' Technical award, a gold coloured trophy of a camera mounted on a wooden plinth, this was awarded to Bill Chitty in 1985 for his design of innovative lighting Equipment over many years (the first time the award was given to a non-camera operative). Bill was an electrician and gaffer on around twenty films from 1964-1974 including African Queen, The Wooden Horse, Anne of the Thousand Day and others. He was also responsible for the television lighting for Churchill's funeral at St Paul's Cathedral and developed 'The Wendy' lighting units still used today. Included is a large amount of detailed information about Bill's life and includes school reports, letters of commendation from various studios, dedicated signed photographs from John Mills, Dana Andrews and others, photographs from the films he worked on including a cricket match and signed 'Bogie', film stills including Jane Russell, a script for 'The Homecoming' and more - (the printed plaque on the award has the incorrect spelling of Easey)

A Royal Worcester shell handled oval dessert dish, c1970, painted by Freeman, signed, with an all over still life of fruit, 30cm l, black printed mark Good condition

A Royal Worcester two handled pot pourri vase and cover, c1970, painted by Freeman, signed with a continuous still life of fruit, the rims and handles gilt, 17cm high, black printed mark Good condition

A Royal Worcester tea service, c1970, painted by P Platt, signed, with an all over still life of fruit, teapot 15cm h, black printed mark (22) All in good condition

20th c School - Still Life with Nuts,  a Tankard and Gold Watch on a Cloth Covered Marble Ledge, with signature, oil on board, 29 x 39cm Surface of the medium slightly blued from storage in a slightly damp environment

Victorian School - Still Life with Apples and Black Grapes on a Mossy Bank, indistinctly signed, oil on canvas, 24 x 29.5cm Unlined, small tear upper centre left

A collection of block prints to include: a landscape scene and a woman sleeping by Jack Hillier, signed and titled, and a still life “fruit on a table” by Gladys Gibbons dated 1927, signed and dated. Framed and glazed (3): largest measures approx; 29cm x 22cm.

A collection of block prints to include: a still life depicting a family scene, signed by an unknown artist, dated 27. Together with two prints by Adrian Peiut signed and titled, depicting “Colonial” fruit packers, edition 4/50 and “tropical” industrial harbour scene. Framed and glazed (3): largest measures approx; 32cm x 34cm.

A still life, flowers in a vase, oil on board, unsigned, framed, 21cm x 29cm; together with two French ornithological prints, framed and glazed, 23cm x 25cm; and Fanshawe, 20th century, 'Free Souls' acrylic, dated '1985', framed and glazed, 39cm x 28cm (4)Significant cracking to the paintwork; frame with repair; ornithological prints with foxing and some discolouration; Fanshawe picture in good condition with minor marks to frame.

A gilt framed watercolour still life of flowers along with a print depicting race horses.

A case containing still life prints; photograph album and ephemera

A circular gilt framed mirror; a pine framed print; still life print on canvas and a Bitburger advertising sign

An oil painting still life study of flowers and a framed coloured print

A still life oil on canvas

PAINTINGS AND PRINTS ETC, to include a Burnett Parisian scene oil on canvas, approximate size 50cm x 40cm, two oils on board signed Tolley, depicting a still life fruit scene and a farming scene, a still life oil on board depicting flowers signed D A Waite, prints depicting bygone Staffordshire, print reproductions of paintings, photo frames etc

PRINT OF A STILL LIFE IN FRAME

Karl Neppel (German, 1883-1961), oil on board, Still life of grapes on a table top, signed, 13 x 17.5cm

Jan Van Delft, oil on canvas, Still life of fruit on a table top, signed, 39 x 98cm

After William Scott'Still Life Brown with Black'offset lithograph in colours, 2012, numbered 40/100, published by the William Scott Foundation, with 'William Scott Estate' blind stamp70 x 100cmCondition ReportFramed size: 73 x 103cmUnexamined out of glazed frame, in apparently good condition.

* Robert Sadler (1909-2001)'Mixed Flowers in a Vase'signed 'Sadler' and indistinctly dated l.r., acrylic on board38 x 49cm, unframed;Still lifesigned 'Sadler' l.l, acrylic on board20 x 15cm (2)Condition ReportFramed work is 24.5 x 19.5cmUnframed work has pin holes to edges and paint loss and scuffs to extreme edges (could be covered by framing)

* Elyse Ashe Lord (1900-1971)Still life of flowers in a vasetwo, etching and aquatint in colours, both signed 'Elyse Ashe Lord' in pencil, one inscribed 'K o ssu' the other numbered 53/75 plate mark 37 x 29cm and 36 x 25cm, framed as a pair (2)Condition ReportNot viewed out of glazed frames.Yellow vase - overall discolourd paper, a few light spots of staining.Black vase - staining seen in print and also margin.

Gray (20th century), still life, signed, 44 x 63cm, framed and glazed

A large modern oil on canvas, still life study in muted tones, signed 'Venlent' lower right, within a slender slip and silvered frame 60cm x 109cm & 75cm x 133cm

Dorothy Dilmot, still life, signed, 41 x 50cm, mounted framed and glazed, 60 x 69cm,

* ETHEL WALKER (SCOTTISH b. 1941),WINTER SUNoil on board, signed, titled label versoimage size 54cm x 46cm, overall size 70cm x 63cm Framed and under glass.Label verso: The Stenton Gallery, Stenton.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. Ethel Walker's work has been exhibited widely over many years in Scotland, London and around the UK. In The Scottish Contemporary Art Auction of 5th December 2021 "The Lace Cloth" (lot 594) by Ethel Walker sold for £3000 (hammer).

* PETER FOYLE,IN THE SHADEoil on canvas, signed, titled versoimage size 36cm x 46cm, overall size 49cm x 59cm Framed.Note: Peter graduated from St. Martin’s School of Art in London in 1986 when he was a finalist in the prestigious ‘Readers Digest Young Illustrators Award.’ After graduating, he practised as a freelance artist and illustrator until 1990 when he and his wife opened the Framework Gallery in Troon in Ayrshire. Peter shows his work in several galleries and exhibitions in Scotland and also recently in China. In recent years he has won several awards including the Royal College of Surgeons and Physicians Award at the Royal Glasgow Institute. Peter was brought up in Dorset where, as a teenager, he could be seen cycling around the country lanes with his easel and paints strapped to his bicycle as he sought out interesting subjects to paint “en plein air.” He won a few awards and sold a number of paintings and completed several commissions while still at school. Much of Peter’s work now depicts the sparkling light of Venice and the sun-dappled cafes of Provence but he is also inspired by the Scottish Coast where they live. Cityscapes of Glasgow and Edinburgh as well as rural landscapes and harbours are all subjects he enjoys painting. Still Life painting has also been a source of inspiration, especially during the recent covid lockdowns. Whereas some artists concentrate on one subject throughout their painting career, Peter prefers to paint whatever gives him a sense of visual excitement, usually because of a special quality of light. He paints almost entirely in oil on Belgian linen but occasionally produces watercolours, especially as sketches when travelling.

* ETHEL WALKER (SCOTTISH b. 1941),PATTERNS OF BLUEoil on board, signed, titled and dated 1996 label versoimage size 63cm x 58cm, overall size 82cm x 77cm Framed and under glass.Label verso: The Gatehouse Gallery, Glasgow.Note: Ethel Walker was born in Ayrshire, Scotland, in 1941. She graduated from the Glasgow School of Art in 1964 where she had been taught by David Donaldson, once the Queen's portrait painter. Beginning her career as a teacher, by the age of twenty-seven she was a full-time artist. Walker is one of the most successful female painters working in Scotland today. Her talent in capturing the ever-changing light of the Scottish landscape is outstanding, and her subtle but strong still life paintings are highly-prized. Work is held in many public and corporate collections worldwide, including the Royal Bank of Scotland and Sara Lee Holdings. Ethel Walker's work has been exhibited widely over many years in Scotland, London and around the UK. In The Scottish Contemporary Art Auction of 5th December 2021 "The Lace Cloth" (lot 594) by Ethel Walker sold for £3000 (hammer).

* PETER GRAHAM ROI (SCOTTISH b. 1959),EVENING LIGHTSoil on paper, signedimage size 24cm x 37cm, overall size 37cm x 51cm Framed and under glass.Note: Peter Graham was born in Glasgow in 1959. He attended the Glasgow School of Art, graduating in 1980. In 2000 Peter was elected to Full Membership of The Royal Institute of Oil Painters, R.O.I. Peter has earned a reputation as one of Britain’s most gifted and distinctive Modern Colourists. His work is often related to the Modern Scottish School but Peter has a flamboyant style which is unique, – detailed brushwork combined with loose fluid strokes creating vibrant contrasts of pure colour, line and tone. In the winter months within his studio, he delves deeply into the still life genre, creating some of his most stunning compositions, always with colour as the dominant theme but reflecting the heightened sense of atmosphere and passion that comes directly from painting in the beauty of the Mediterranean. Recently, hugely successful exhibitions in London have allowed Peter to take on extra studio space and his work is being enthusiastically exhibited by many of the UK's most prestigious galleries. Peter Graham's paintings do not appear at auction frequently but Impressive recent auction prices include (a slightly larger example) "Decorations with Flowers" which was sold at McTear's in The Scottish Contemporary Art Auction for £2800 (lot 580, 26th May 2019).

GRAHAM H D MCKEAN,SECATEURS AND GLOVES STILL LIFEoil on canvas, signed, further signed and titled versoimage size 30cm x 30cm, overall size 48cm x 48cm Framed.

* CATRIONA CAMPBELL (SCOTTISH b. 1940),STILL LIFEgouache on board, signed and dated '84image size 36.5cm x 51cm, overall size 53cm x 66cmMounted, framed and under glass.

* JENNIFER IRVINE RGI RSWSTILL LIFEgouache on paper, signed and dated '87image size 26cm x 26cm, overall size 50cm x 49cm Mounted, framed and under glass.

* CLAIRE HARKESS RSW (SCOTTISH b. 1970),ROO IIwatercolour on paper, signed, titled versoimage size 26cm x 15cm, overall size 47cm x 35cm Mounted, framed and under glass.Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in March 2022, and at other prestigious galleries around the UK.