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W. RICKETTS (Royal Worcester Artist). A still life study of fruit on a mossy bank, watercolour, gilt framed and glazed, in an oval mount, signed lower left, 9 x 13.5 cm

J.N. MARCHETTI (XX). Floral still life study, signed lower right, oil on canvas, gilt framed and glazed, 46 x 57 cm

Embossed gilded strut frame with foliate design, and a floral still life, 24cm

ALBERT HENRICH 1899 Duesseldorf - 1971 ibid. Still life with books, a jug and a pipe Oil on canvas. 41 x 51 cm. Signed lower right 'A Henrich'. Part. very min. dam. Provenance: Rhenish private collection.ALBERT HENRICH 1899 Duesseldorf - 1971 ebenda Stilleben mit Buechern, Krug und Pfeife OEl auf Leinwand. 41 x 51 cm. Signiert unten rechts 'A Henrich'. Part. zehr min. besch. Provenienz: Private Sammlung.

JOHANN HEINRICH SUHRLANDT 30 March 1742 Schwerin - 1 January 1827 Ludwigslust PORTRAIT OF THE YOUNG RUDOLPH FRIEDRICH CARL SUHRLANDT IN THE MIDST OF A SPLENDID STILL LIFE OF FRUIT TREES Oil on canvas (doubl.). 67 x 86 cm (R. 79 x 97,5 cm). Inscribed on a letter in the centre of the painting: 'To my honoured couple, in memory of you, this is dedicated, which also reminds you of the one who was named 'Rudolff' after you in the baptism. I was born on 21 Dec. 1781. This was painted by my (...) in the month of May 1782. An unlimited happiness to my beloved husband (...) until the (...) years. I (...) love you all my life (...) Your most faithful son Rudolff Friedrich v. Suhrlandt.' Part. dam., old rest. Frame. Friedrich v. Suhrlandt.' Part. besch., altrest. Rahmen. Provenance: North German private collection.JOHANN HEINRICH SUHRLANDT 30. März 1742 Schwerin - 1. Januar 1827 Ludwigslust PORTRAIT DES JUNGEN RUDOLPH FRIEDRICH CARL SUHRLANDT INMITTEN EINES PRÄCHTIGEN OBSTSTILLLEBENS Öl auf Leinwand (doubl.). 67 x 86 cm (R. 79 x 97,5 cm). Auf einem Brief in der Mitte des Bildes bezeichnet: 'Meinem geehrten Paaten, zum Andenken sei Ihnen dieses gewidmet, das Sie auch an den erinnern der nach Ihnen in der Taufe ist genannt worden 'Rudolff'. Ich bin geboren d. 21. Dec. 1781. Dieses ist von meinem (...) gemahlt im Monath Mai 1782. Ein unbeschränktes Wohlbeglück meinen geliebten Paaten (...) bis in die (...) Jahre. Ich (...) zeitlebens Sie lieb (...) Ihr treuester Sohn Rudolff Friedrich v. Suhrlandt.' Part. besch., altrest. Rahmen. Provenienz: Norddeutsche Privatsammlung.

HERMANN KOCH 1856 - 1939 Still life with fruit and flowers Oil on canvas. 61 x 81 cm. Signed and place-inscribed lower left 'H. Koch Munich'. Part. damaged.HERMANN KOCH 1856 - 1939 Stilleben mit Obst und Blumen OEl auf Leinwand. 61 x 81 cm. Signiert und ortsbezeichnet unten links 'H. Koch Muenchen'. Part. Besch.

ENDRE KOEMPOECZI-BALOGH 1911 Budapest - 1977 Still life with chrysanthemums and chestnuts Oil on canvas. 102 x 81 cm (F. 124 x 103 cm). Signed lower right 'Koempoeczi Balogh Endre'. Part min. abraded. Frame. Provenance: Galerie Enders Wildbad im Schwarzwald, 1986 (copy of purchase receipt available).ENDRE KOEMPOECZI-BALOGH 1911 Budapest - 1977 Stilleben mit Chrysanthemen und Kastanien OEl auf Leinwand. 102 x 81 cm (R. 124 x 103 cm). Signiert unten rechts 'Koempoeczi Balogh Endre'. Part min. ber. Rahmen. Provenienz: Galerie Enders Wildbad im Schwarzwald, 1986 (Kaufbeleg liegt in Kopie vor).

LINA KRAUSE 1857 - 1916 Still life with flowers and butterflies Oil on wood. 46 x 38 cm (r. 57 x 50 cm). Signed lower right 'L. Krause'. Rest. Frame. Provenance: Private collection Lower Rhine. Auction Leo Spik KG, Berlin from 2010 (copy of purchase receipt available).LINA KRAUSE 1857 - 1916 Blumenstillleben mit Schmetterlingen OEl auf Holz. 46 x 38 cm (R. 57 x 50 cm). Signiert unten rechts 'L. Krause'. Rest. Rahmen. Provenienz: Privatsammlung Niederrhein. Versteigerung Leo Spik KG, Berlin von 2010 (Kaufbeleg liegt in Kopie vor).

HANS RICHARD VON VOLKMANN 1860 Halle (Salle) - 1927 ibid. STILL-LIFE WITH JUG Pencil and watercolours on paper. Visible size 20 x 26,7 cm (f. 37 x 45 cm). Dated and monogrammed lower left 'Februar 1890 - HR. V. V.'. Minimally tanned. Framed in a passepartout and behind glass (unopened).HANS RICHARD VON VOLKMANN 1860 Halle (Salle) - 1927 ebenda STILLLEBEN MIT KRUG Bleistift und Aquarell auf Papier. SM 20 x 26,7 cm (R. 37 x 45 cm). Datiert und monogrammiert unten links 'Februar 1890 - HR. V. V.'. Minimalst gebraeunt. Hinter Glas im Passepartout gerahmt (ungeoeffnet).

RAIMUND RITTER VON BRENNERSTEIN WICHERA 1862 - 1925 Still life with flowers, carafe and glasses (1916) Oil on canvas. 61 x 81 cm (F. 68 x 88 cm). Signed and dated upper right 'R.R. v. Wichera 1916'. Slightly soiled. Framed.RAIMUND RITTER VON BRENNERSTEIN WICHERA 1862 - 1925 Blumenstilleben mit Karaffe und Glaesern (1916) OEl auf Leinwand. 61 x 81 cm (R. 68 x 88 cm). Signiert und datiert oben rechts 'R.R. v. Wichera 1916'. Leicht verschm. Rahmen.

JACOB SAMUEL BECK (OR CIRCLE/SCHOOL) 21 March 1715 Erfurt - 1778 Ebenda STILL LIFE WITH THISTLES, BUTTERFLIES AND A BLUE TIT Oil on canvas. 55 x 46 cm (F. 63,5 x 55,5 cm). Part. min. paint losses. Frame. Provenance: Westphalian private collection.JACOB SAMUEL BECK (ODER UMKREIS/SCHULE) 21. März 1715 Erfurt - 1778 Ebenda STILLLEBEN MIT DISTELN, FALTERN UND BLAUMEISE Öl auf Leinwand. 55 x 46 cm (R. 63,5 x 55,5 cm). Part. min. Farbverluste. Rahmen. Provenienz: Westfälische Privatsammlung.

FRENCH Early 20th century Still life with flowers and cherries Oil on canvas. 58 x 43 cm (F. 72 x 57 cm). Signed and dedicated lower right 'a mes chers amis Luis et Lin en souvenir de leur mariage'. Craquelé, part. min. damaged. Framed. Provenance: Lower Rhine private collection.FRANZOESISCH Anfang 20. Jh. Stilleben mit Blumen und Kirschen OEl auf Leinwand. 58 x 43 cm (R. 72 x 57 cm). Signiert sowie gewidmet unten rechts 'a mes chers amis Luis et Lin en souvenir de leur mariage'. Craquelé, part. min. besch. Rahmen. Provenienz: Niederrheinische Privatsammlung.

W. RENGYN Active around 1820 Still life with fruit and flowers (1829) Oil on canvas, mounted on wood. 33 x 44 cm (F. 42 x 53 cm). Signed and dated lower right 'W. M. v. W. Regyn 1829'. Part. damaged, rest. crack. Framed.W. RENGYN Taetig um 1820 Stilleben mit Obst und Blumen (1829) OEl auf Leinwand, auf Holz gezogen. 33 x 44 cm (R. 42 x 53 cm). Signiert und datiert unten rechts 'W. M. v. W. Regyn 1829'. Part. besch., rest. Riss. Rahmen.

CORNELIS LEMAIR 1944 Large still life with flowers and fruits Oil on canvas. 81 x 61 cm (F. 99 x 79 cm). Signed lower right 'C. Lemair'. Light scratch mark. Framed.CORNELIS LEMAIR 1944 Grosses Stillleben mit Blumen und Fruechten OEl auf Leinwand. 81 x 61 cm (R. 99 x 79 cm). Signiert unten rechts 'C. Lemair'. Leichte Kratzspur. Rahmen.

WILHELM LEIBL (CIRCLE) 1844 Cologne - 1900 Wuerzburg Still life with apples and a jug Oil on canvas. 48 x 55 cm (F. 63 x 66 cm). Indistinctly signed upper right. Rest. Framed.WILHELM LEIBL (UMKREIS) 1844 Koeln - 1900 Wuerzburg Stillleben mit AEpfeln und Krug OEl auf Leinwand. 48 x 55 cm (R. 63 x 66 cm). Unleserlich signiert oben rechst. Rest. Rahmen.

CHARLES HOGUET 1821 Berlin - 1870 ibid. Large still life with lobster (1868) Oil on canvas (RELINED). 115 x 166 cm (R. 146 x 195). Signed and dated on the left side of the table 'C. Hoguet 68.'. Partly damaged, rest. Framed.CHARLES HOGUET 1821 Berlin - 1870 ebenda Grosses Stillleben mit Hummer (1868) OEl auf Leinwand (doubl.). 115 x 166 cm (R. 146 x 195). Signiert und datiert links auf Tischplatte 'C. Hoguet 68.'. Part. besch., rest. Rahmen.

DUTCH PAINTER 2nd h. 19th c. Still life with roses Oil on canvas (maroufl.). 69 x 80 cm (F. 85 x 98 x 6,5 cm). Rest., min. abraded. Frame.HOLLAENDISCHER MALER Taetig 2. Haelfte 19. Jh. Blumenstilleben mit Rosen OEl auf Leinwand (maroufl.). 69 x 80 cm (R. 85 x 98 x 6,5 cm). Rest., min. ber. Rahmen.

WILHELM BIRGELS 1870 - 1958 Large Still Life with Phlox and Chrysanthemums Oil on canvas. 102 x 74 cm (F. 121 x 97 cm). Signed lower right 'W.Birgels'. Frame. Provenance: Private collection Lower Rhine.WILHELM BIRGELS 1870 - 1958 Grosses Stillleben mit Phlox und Chrysanthemen OEl auf Leinwand. 102 x 74 cm (R. 121 x 97 cm). Signiert unten rechts 'W.Birgels´. Rahmen. Provenienz: Privatsammlung Niederrhein.

JEAN-BAPTISTE ROBIE 1821 - 1910 Large still life with peonies and two titmice Oil on canvas. 75 x 93 cm (F. 90 x 106 cm). Signed lower right 'J. Robie'. Part min. abraded. Framed.JEAN-BAPTISTE ROBIE 1821 - 1910 Grosses Stillleben mit Pfingstrosen und zwei Meisen OEl auf Leinwand. 75 x 93 cm (R. 90 x 106 cm). Signiert unten rechts 'J. Robie'. Part min. ber. Rahmen.

GEORGE CLARE 1835 - 1900 Active in Great Britain Still life with a bouquet of flowers and a bird's nest Oil on canvas (relined). 92 x 72 cm (F. 109 x 89 cm). Signed lower links 'George Clare'. Rest. Framed. Provenance: Provenance: Carl van Waegeningh Art Passage, Duesseldorf, 1978 (copy of purchase receipt available). Rhenish private collection.GEORGE CLARE 1835 - 1900 Taetig in Grossbritannien Stillleben mit Blumenstrauss und Vogelnest OEl auf Leinwand (doubl.). 92 x 72 cm (R. 109 x 89 cm). Signiert unten links 'George Clare'. Rest. Rahmen. Provenienz: Kunst-Passage Carl van Waegeningh, Duesseldorf, 1978 (Kaufbeleg liegt in Kopie vor). Rheinische Privatsammlung.

GEORG SEITZ 1810 - 1870 Large still life with thistles, meadow flowers and butterflies Oil on canvas. 79 x 63 cm (F. 93,5 x 79 cm). Incised monogram lower right 'G.S.'. The almost identical Still Life was auctioned 24.09.2019 by Dorotheum and successfully sold for 12.800 Euro (lot no. 174). Part. damaged, rest. Frame.GEORG SEITZ 1810 - 1870 Grosses Distelstillleben mit Wiesenblumen und Schmetterlingen OEl auf Leinwand. 79 x 63 cm (R. 93,5 x 79 cm). Ritzmonogramm unten rechts 'G.S.'. Das nahezu identische Stillleben wurde 24.09.2019 von Dorotheum versteigert und fuer 12.800 Euro erfolgreich verkauft (Los Nr. 174) Part. besch., rest. Rahmen.

SCHOOL OR FOLLOWER OF JAN DAVIDSZOON DE HEEM D.J. April 1606 Utrecht - c. 1684 Antwerp STILL LIFE WITH A PARROT, FRUITS, PORCELAIN BOWL AND WINE GLASS Oil on canvas. 73,5 x 60,5 cm (F. 84 x 70 cm). Part. slightly old restored, min. dam., minor old retouching at the edges. Frame. Provenance: North German private collection.JAN DAVIDSZOON DE HEEM D.J. (SCHULE ODER NACHFOLGER) April 1606 Utrecht - Um 1684 Antwerpen STILLLEBEN MIT PAPAGEI, FRÜCHTEN, PORZELLANSCHALE UND WEINGLAS Öl auf Leinwand. 73,5 x 60,5 cm (R. 84 x 70 cm). Part. min. alterest.,min. besch., kleinere Altretuschen an den Rändern. Rahmen. Provenienz: Norddeutsche Privatsammlung.

GIUSEPPE VOLO OR LUCA FORTE 1662 Milan / 1700 Bergamo - 1640 Naples / 1670 Ibid STILL LIFE WITH FRUITS AND PEONY VIOLETS Oil on canvas (old relined). 64 x 46,5 cm (F. 80 x 62 cm). Part. min. old rest. Frame. Provenance: Northeast German private collection.GIUSEPPE VOLO ODER LUCA FORTE 1662 Mailand / 1700 Bergamo - 1640 Neapel / 1670 Ebenda STILLLEBEN MIT FRÜCHTEN UND PFINGSTVEILCHEN Öl auf Leinwand (altdoubl.). 64 x 46,5 cm (R. 80 x 62 cm). Part. min. altrest. Rahmen. Provenienz: Nordostdeutsche Privatsammlung.

JEAN-BAPTISTE ROBIE 1821 - 1910 Still life with flowers Oil on wood. 24,5 x 18,5 cm (R. 37 x 31 cm). Signed and indistinctly dated lower right 'J. Robie 19'. Framed.JEAN-BAPTISTE ROBIE 1821 - 1910 Blumenstillleben OEl auf Holz. 24,5 x 18,5 cm (R. 37 x 31 cm). Signiert und schwer leserlich datiert unten rechts 'J. Robie 19(...)'. Rahmen.

GEORG SEITZ 1810 - 1870 Still life with a basket of flowers Oil on wood. Approx. 67 x 63 cm (F. 84 x 80 x 4 cm). Signed lower left: 'G. Seitz'. Rest., min. damaged. Framed.GEORG SEITZ 1810 - 1870 Stilleben mit Blumenkorb OEl auf Holz. 67 x 63 cm (R. 84 x 80 cm). Signiert unten links 'G. Seitz´. Rest., min. besch. Rahmen.

Full title: Michel Bouillon (active 1638-1674): Still life with flowers and melon, oil on canvas, 17th C.Description: Work: 67,5 x 48,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: J. Niels (J.R. Niels, second half of the 18th C.): Still life of flowers, oil on panel, dated 1797Description: 68 x 52 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: European schoool: A 17th C. style still life, oil on panel, 19th/20th C.Description: Work: 45,2 x 36 cmÊ Frame: 53 x 44 cmÊ Condition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Paul Permeke (1918-1990): Still life of flowers, oil on canvasDescription: Work: 80 x 60,5 cmÊ Frame: 100 x 80 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

Full title: Paul Permeke (1918-1990): Still life of flowers, oil on canvasDescription: Work: 49,5 x 40,5 cmÊ Frame: 68,7 x 58,5 cmCondition:The absence of a condition report does not imply that a lot is in perfect condition. Please contact us to let us know which lots are of interest, so we can make the requested reports for you.Once complete, they will be published on our website (www.coronariauctions.com)High resolution pictures are already available on our website at www.coronariauctions.com. Further questions are always welcome at info@coronariauctions.com

GEORGE GROSZ (1893-1959)Clown und Partner inscribed extensively (lower right); stamped with the artist's atelier stamp (on the reverse)watercolour, pen and India ink and collage on card37.8 x 27.9cm (14 7/8 x 11in).Executed circa 1922Footnotes:The authenticity of this work has been confirmed by Dr. Ralph Jentsch. This work will be included in the forthcoming volume of the George Grosz catalogue raisonné of works on paper, currently being prepared.ProvenanceGalleria Schwarz, Milan, no. C 2601 (by 1958).Anon. sale, Parke-Bernet, New York, 19 November 1969, lot 15a.Jay C. Leff Collection, New York.Anon. sale, Sotheby's, New York, 22 October 1975, lot 219.Anon. sale, Sotheby's, London, 4 December 1985, lot 37.Anon. sale, Sotheby's, Munich, 31 May 1990, lot 109.Private collection, UK (acquired at the above sale).ExhibitedDusseldorf, Kunsthalle Dusseldorf, Dada: Dokumente einer Bewegung, 5 September - 19 October 1958, no. 21.Hanover, Kestner-Gesellschaft, Dada, Photographie und Photocollage, 6 June - 5 August 1979, no. 52.Caracas, Museo de Arte Contemporáneo de Caracas, El Espiritu Dada 1915/1925, 14 November 1980 - 15 January 1981.Realised circa 1922 in Berlin, Clown und Partner is a rare Dadaist collage by George Grosz. In typical Dadaist fashion Grosz here sets up a visual dialectic contrasting the somewhat tragic figure of the clown in outsized clothes with a photomontage element depicting a portly member of the bourgeoise in evening dress smoking a cigar. By contrasting these two opposing subjects yet simultaneously making visual comparisons between the two, most notably with the wild hair and formal dress, Grosz serves to evoke the Dada spirit of illogical coherence and thus underscore the satirical tone of the composition: Germany's elitist class has become a laughing stock.In 1919 George Grosz and John Heartfield joined the newly formed Communist party and, in accordance with Dadaism, set about expressing anti-bourgeois protest and a solidarity with the proletariat. Writing in 1925, George Grosz and Wieland Herzfelde set out their aims for the function of contemporary art: 'the artist cannot withdraw himself from the laws of social development – today the class struggle. A detached stance, above or on the side lines, still means taking sides. Such indifference and otherworldliness supports automatically the class in power – in Germany its bourgeoisie... The artist today, can only choose between technical construction and propaganda in the class struggle. In either case he will have to give up on pure art' (Grosz and Herzfelde quoted in H. Hess, George Grosz, London, 1985, p. 85). Grosz first turned to collage in 1919 when, together with John Heartfield, he produced a series of drawings and photomontages to deconstruct traditional bourgeois art and to imbue it with fresh impact and democratic value.Grosz was enchanted with the circus and its cast of performers from an early age. Writing in his autobiography he described his formative attraction to the bohemian, anti-establishment characters of the travelling circuses that frequented his childhood town of Stolp, 'Ah what boy has not been fascinated by circus life and activity? What I wouldn't have given to have gone out into the world with the rope dancers and jugglers and lived in a white wagon so richly decorated and gilded. Naturally not as the boy I was, but as a world-famous jumper or trapeze artist' (Grosz quoted in A Little Yes and a Big No, New York, 1946). After moving to Berlin in 1912, Grosz was able to fully immerse himself in circus, cabarets, and theatres of the metropolis, and it was in these places that Grosz could observe the interactions between the bourgeoisie and those at the fringes of society. His work from this key Berlin period is filled with acerbic observations and social commentary cementing his reputation as one of Germany's most celebrated satirists.The creative anarchy of Dada was to provide the fertile ground upon which André Breton would grow the Surrealist movement. Though Grosz himself did not join the Surrealists, the emphasis on nonsense and irrationality that had characterised Dada formed the foundations of Surrealism, with many artists who had been proponents of the earlier movement joining Surrealist ranks after the dissolution of Dada in the mid-1920s.For further information on this lot please visit Bonhams.com

GRACE PAILTHORPE (1883-1971)Untitled dated 'April 17 1941' (on the reverse)oil on canvas board35.6 x 25.4cm (14 x 10in).Executed on 17 April 1941Footnotes:ProvenancePrivate collection, UK.ExhibitedBexhill-on-Sea, De La Warr Pavilion, A Tale Of Mother's Bones: Grace Pailthorpe, Reuben Mednikoff and the Birth of Psychorealism, 6 September 2018 - 20 January 2019 (later travelled to London).Dr Grace Pailthorpe (1883-1971) first served as a surgeon in the First World War and later studied psychoanalysis. In 1935, she wanted someone to help her 'prize open' the mind of one of her patients and after meeting the artist Reuben Mednikoff (1906-1972) at a party, she was persuaded that he had the required nature to do so. Together, they spent decades of their lives collaborating and researching how the arts could free individuals and societies from the constraints that ailed them, developing a creative process that combined Surrealism with psychoanalysis. In the process, Grace became an artist too, bringing artistic and scientific thinking together. 'Psychorealism' was the term that Pailthorpe and Mednikoff invented to describe their work. In June 1936, paintings by the two artists were included in the International Surrealist Exhibition in London. Pailthorpe's work was hailed as 'the best and most truly Surrealist' by the leader of the Surrealist movement, André Breton. From this date until 1940 they were key members of the British Surrealist Group.Pailthorpe was convinced that art could provide a direct route to the unconscious, allowing the patient and the analyst to avoid the more time-consuming Freudian processes. Alongside Mednikoff, she produced a huge body of work that included startlingly vivid and wildly experimental paintings and drawings, often paired with in-depth psychoanalytic interpretation. Her intense consideration of her own earliest memories often covered the taboo aspects of birth, infancy, and motherhood. These themes can clearly be seen in her art, as in Untitled (lot X). The imagery here explores an intra-uterine regression and a concern with portraying life at its earliest stages, where the foetus is dependent on the mother for nutrients and life.By the time that she painted Untitled, Pailthorpe and Mednikoff had been living in Berkeley, California where she was conducting research work. On leaving Britain they had initially settled in New York, moving to California in the winter of 1940. Not long before leaving the country, they had ceased their formal association with the British Surrealist group following a disagreement with E.L.T. Mesens, the de facto leader. After the war, the pair returned to the UK. Pailthorpe worked at the Portman Clinic, running art classes for patients. Lot X depicts an image a giraffe from 1948. No doubt still full of symbolism, this painting does however show a lighter side to her work.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Eloise Harriet Stannard (British,1829-1915)Still life of strawberries and a companion piece of pears and grapesSigned and dated 1895 & 1897Oil on canvasEach 27cm x 34cm. (2)Provenance:Christie's, London, Victorian Pictures, 6 June 1997, lot 145.

Edward Ladell (British, 1821-1886)Still Life with fruit and wineOil on canvasSigned49cm x 40cmProvenance:Sotheby's, London, Victorian Pictures, 26 September 1990, lot 54.

William Hughes (British, 1843-1901)Still Life of fruit in a basket on a stone ledgeOil on canvasSigned and dated 1883 lower right90cm x 70cmProvenance:Bonhams, London 18 March 1999, lot 62

William Hughes (British, 1842-1901)Still Life of fruit on a ledgeOil on canvasSigned96cm x 69cmProvenance: Christie’s London, 6 June 1997, lot 147

Hugo Charlement (Austrian, 1850-1939)A pair of still life table scapesOne depicting bagpipes and books the other with a violin and ewerOli on canvasSigned and dated 187921cm x 28cm(2)Provenance:Sotheby's, London 19 November 1997, lot 217

RAFAEL ALBERTI (El Puerto de Santa María, Cádiz, 1902 - 1999).Untitled, 1980s.Four ink drawings on paper.All of them signed, two dated (1983 and 1989).Size: 54 x 38 cm; 63 x 46 cm (frame).In parallel to his brilliant poetic career, Rafael Alberti entered the world of painting and drawing, with an avant-garde vocation, exhibiting already in early times in the Salón de Otoño and the Ateneo de Madrid. He 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 plastic 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.

JOAN MIRÓ I FERRÀ (Barcelona, 1893 - Palma de Mallorca, 1983).Untitled, 1965.Watercolour on paper.Enclosed certificate of authenticity issued by Jacques Dupin.Signed and dated in the lower right-hand corner.Measurements: 39 x 36 cm; 70 x 67 (frame).The staircase was a recurring device in Miro's work, and his paintings were imbued with a personal, syncretic iconography that introduced and still introduces the viewer to a dream world, ethereal, immutable, yet unpredictable. In fact, in 2011, the Joan Miró Foundation in Barcelona together with the Tate Modern Gallery in London promoted the exhibition "The Staircase of Evasion". In the acclaimed work "Dog Barking at the Moon", which was very well received in New York, Miró presents a staircase that is supported in an indeterminate space, as in his painting "Blue II" and in the present work. It is a staircase suspended in space, which seems to be the tool needed to escape and reach another world, that of the imagination, but without forgetting its starting point, which is based on a material reality, as if the staircase were a metaphor for artistic creation. Joan Miró developed a characteristic atmosphere in his works, impregnated with primary impulses left over from his contacts with Dadaism and Surrealism. Thus, his paintings function as microcosms, symbolic models of the world that seek an understanding of the universe through the coexistence of atavistic impulses and artistic space, full of cultural reminiscences. Thus, his works should be considered as an expression of his sense of life, which is concretised plastically through the symbolism that he himself confers on the representation of certain beings and objects. By turning objects into symbols, Miró broke with the historical-narrative aspect, perspective and other traditional and realistic aspects of painting, leaving aside the description of reality. It is in this context that we can understand works as essential as this "Star and large signature", where the absolute protagonist is the message conveyed in a resounding manner, with nothing to diminish its impact. The star is a constant element throughout Miró's production; at times it is depicted as a stellar element per se, and at other times it symbolises the male presence, so that it is an ambivalent code, as a poetic expression of the vastness of the cosmos and the attraction that brings living beings together. On the other hand, his presence exemplifies the omnipresence in Miró's work of sublime forces, associated with a feeling of grandeur and cosmic mystery that has always impressed human beings.Joan Miró trained in Barcelona and made his individual debut in 1918 at the Galeries Dalmau. In 1920 he moved to Paris and met Picasso, Raynal, Max Jacob, Tzara and the Dadaists. There, under the influence of the surrealist poets and painters, he gradually matured his style; he tried to transpose surrealist poetry to the visual, based on memory, fantasy and the irrational. His third exhibition in Paris in 1928 was his first great triumph: the Museum of Modern Art in New York acquired two of his works. He returned to Spain in 1941, and that same year the museum devoted a retrospective exhibition to him which was to be his definitive international consecration. Throughout his life he received numerous awards, such as the Grand Prizes at the Venice Biennale and the Guggenheim Foundation in Venice, the Carnegie Prize for Painting in Venice, the Gold Medals of the Generalitat de Catalunya and of the Fine Arts, and was awarded honorary doctorates by the universities of Harvard and Barcelona. His work can currently be seen in the most important museums in the world, such as the MoMA, the Guggenheim and the Reina Sofía.

FRANCISCO RODRÍGUEZ LOBO (Cantillana, Seville, 1965)."Asphalt I".Mixed media on wood.Signed.Measurements: 48 x 74 cm.A painter specialising in landscape, although he also tackles other themes such as still life, Francisco Rodríguez Lobo belongs to the Sevillian school of reality, and is currently considered one of its most brilliant representatives. Throughout his career, Rodríguez Lobo has held almost forty solo exhibitions, as well as taking part in more than fifty group shows throughout Spain. Among the most recent is the solo exhibition held at the Haurie gallery in Seville in 2014. He has taken part in numerous competitions, winning first prize in the IV Certamen Provincial de Dibujo de Sevilla (1982), the prize at the Caja Rural Exhibition in the same city (1994) and the Medalla de Honor Premio BMW in 2011, a competition in which he had been a finalist the previous year. This painter develops a luminist and calm work, generally contemplative landscapes that invite to silent meditation, melancholic recreation and slowness.

EUSTACE TOZER, A MISTY HIGHLAND LANDSCAPE watercolour, 81 x 50 cms, with two other landscapes and a still life

DUTCH STYLE STILL LIFE, FLOWERS AND GAME oil on panel, early 19th century, 22 x 28 cms

A Pair of Framed Still Life Prints, Vases of Flowers, 55x36cm

A large still-life study of fruit with a vase, signed “Rodriguez”, Oil on Canvas: 23” x 50”, in gilt frame.

Oil on board depicting still life "Pewter & Wine" signed Paul Wilson (b.1945) approximately 77.5cm x 52cm including frame - this lot may be subject to Artist's Resale Rights

Oil on board depicting still life "Simple Fare" signed Paul Wilson (b.1945) approximately 77.5cm x 52cm including frame - this lot may be subject to Artist's Resale Rights

Oil on board depicting still life "Oysters For Lunch" signed Paul Wilson (b. 1945) approximately 79cm x 53.3cm including frame - this lot may be subject to Artist's Resale Rights

Collection of pictures to include a pair of late 19th century oil on canvas Marine scenes, still life studies and others (qty)

A selection of five pictures and prints, to include a coastal scene depicting a masted ship and a floral still life, all framed

A Royal Worcester plate, late 20th c, painted by S Drysdale, signed, with an all-over still life of fruit in gilt gadrooned rim, 15cm diam, black printed mark Good condition

Henry John Livens (1848-1943)  - Still Life with Fruit, including apples, plums and black and white grapes on a mossy bank, signed and dated 1875, 49 x 59cm In good restored ready to hang gallery condition, lined, cleaned, localised retouching (not examined under UV) in 18th c style gilt frame. Frame slightly chipped

* Duranty - Still life with fish onions eggs and celery by a faience jug, signed, oil on canvas, 32 x 45cm Unlined, generally good overall condition and on the original stretchers, slight paint shrinkage and faint impression of stretcher showing through at left, small approx 1cm bruise/tear upper right. One or two tiny spots of flaking

Alexandre Adriaensen (1587-1661) Still life of crabs, fruit, a loaf of bread, rummer, flagon and flowers upon a table topoil on wooden panelsigned and dated 164640 x 70cm.Oil on old oak panel which has at some point split in half horizontally and been patched from behind, the upper and lower section of the boards are bowing inwards at the top and bottom, otherwise rather dirty and would benefit from a clean, signed on the corner of the table, housed in an old ornate gilt scroll frame with attribution plaque, label verso for Leonard Koetser Ltd Old Masters Paintings along with what look to be Sotheby's labels from 2nd May 2012 Lot 127PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 40 x 70cm.Adriaensen (1587-1661), Alexandre

Flemish School Still life of flowers in a vaseoil on metal panel55 x 41cmOil on what looks to be a zinc panel, a little dark with a fine but stable craquelure running through much of the paint, some small light dent marks lower down, grasses and other vegetation painted towards the lower right corner, housed in an ornate 19th century gilt scroll frame with label for Thomas Jackson of Perth, however this may well be associated.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 55 x 41cm, Flemish School

Gyula Bubarnik (Hungarian, 1936-2010) 17th century still life of a carved ivory goblet, fruit, a glass and a book upon a table top, with leaded window beyondoil on boardsigned58 x 48cmOil on panel in honest untouched condition, would benefit from a light clean but no other faults noted, housed in an ornate gilt frame with a few small losses, indistinct stamp verso along with inscribed reference numbersPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 58 x 48cmBubarnik (Hungarian, 1936-2010), Gyula

Gyula Bubarnik (Hungarian, 1936-2010) 17th century style still life of a silver gilt nautilus cup and fruit upon a table topoil on panelsigned40 x 30cmOil on panel in honest untouched condition, would benefit from a light clean, housed in an ornate gilt frame reference numbers inscribed verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 40 x 30cmBubarnik (Hungarian, 1936-2010), Gyula

English School c.1900 Still life of flowers in a vase upon a ledgeoil on canvas75 x 100cmOil on canvas relined 10 - 20 years ago, canvas remains tight but paint a little dirty with a number of fine scuff marks, housed in a 19th century ornate gilt gesso frame which has numerous losses.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 75 x 100cm, English School c.1900

A framed oil on board, still life

Kristina Jardel, STILL LIFE OF PLUMS, oil on board, framed, signed and dated top right-hand side, 9.5 x 9.5 cm, purchased from Century Galleries in 1999

REG MILLER RCA (British, 1931-1998) 'Still Life in Black - Abstract', oil painted in relief, 60cm x 60cm, framed.