We found 77111 price guide item(s) matching your search

Anne Paterson, three watercolours, together with two others - watercolour - Summer Morning Early, Flatford Mill, signed and dated '01, 19cm x 26cm, in glazed frame; watercolour - The Red Lion Rusthall Kent, signed and dated '98, 35cm x 24cm, in glazed frame; watercolour still life, signed, 35cm x 23cm, in glazed frame; watercolour - Spring on Hampstead Heath, signed and dated under mount possibly Peter Clark, 50cm x 32cm, in glazed frame; watercolour - Hunsett Mill, Stalham Norfolk, signed indistinctly, 39cm x 28cm, in glazed frame. (5)

Nicholas Elliott (contemporary) oil on canvas board, still life with pears

Michael E. Morris (B.1957), Royal Worcester artist, pair of watercolour still life studies of fruit signed, 12 x 17cm, mounted in glazed gilt frames with labels for the Halcyon Gallery verso. (2)

Sergei Kovalenko,Still life,Signed, oil on canvas, signed and dated on the reverse,59x69cm.

Merring (20th Century British), still life study of fruit and flowers, signed, oils on board. 79 x 38cm approx. Framed and glazed. (B.P. 21% + VAT) Condition appears good, original condition.

Neil Canning ARBA (British born 1960, modern St Ives School), still life study of jug and apple, signed, acrylic on board. 58 x 31cm approx. Framed.(B.P. 21% + VAT) Appearing in good original condition and frame original.

MID 20th CENTURY FRENCH SCHOOL 'Ceramics Still Life', oil on canvas, indistinctly signed, 80cm x 64cm.

Richard Bazley - Disney Animator (Pocahontas, Tarzan and Hercules) - a LARGE archive of original artwork - sketches, paintings and other media. All drawn by Bazley during his time with Disney at various Walt Stanchfield, Steve Houston or Glenn Vilppu classes. Many still life studies present, including figures, nudes, animals etc. Some clearly conceptual work for his responsibilities in the three films he worked on (several large apes feature - used for Tarzan). Various sizes, mostly large format. 50+ drawings present. 

A pair of framed and glazed oil on board still life studies of cherries by Natasha Arnold, 21 x 16 cm.

A gilt framed still life study. 73 x 63 cm. (collect only).

A still life oil on canvas of fruit. 59 x 69 cm. Collect only.

A still life oil painting on board. Collect only. 60 x 50 cm. image size 47.5cm x 37.5cm, frame 60cm x 49.5cm, in good condition.

A 20th century British school still life with flowers on table top, framed & glazed. Collect only.

A 1930's Fire screen with hand painted still life in Bloomsbury style. Wooden surrounds.

A 20th century British school painting. Acrylic on board. A post impressionist still life with flower vases and fruit framed

A framed and glazed abstract still life. Acrylic on paper initialled J M.

A pair of late 20th-century British School acrylic still life paintings in matching frames.

Two Maurice Feild (1905-1988) still life prints, one double sided, both framed and glazed

McGee Wiseman - A 20th Century oil on canvas still life painting depicting a vase of flowers with coloured drapes to the backdrop. Signed to the lower left. Set with a wooden frame. Painting measures approx; 600mm x 500mm. Frame measures approx; 82cm x 71cm. 

A mid 20th Century watercolour on paper still life painting depicting bottles and fruit with a dark yellow backdrop. Unsigned and set within an oak frame. Painting measures approx; 160mm x 180mm. Frame measures approx; 30cm x 32cm. Unknown.

An oil on canvas still life painting depicting a vase full of flowers sitting central on a kitchen table. Unsigned. Set within a wooden cushioned frame. Painting measures approx; 560mm x 450mm. Frame measures approx; 79cm x 69cm.   

Elsie Marian Henderson (British b. 1880-1967) - An oil on canvas still life painting of a vase full of flowers sitting upon a circular table. Signed to the lower right. Set within a wooden frame. Painting measures approx; 600mm x 440mm. Frame measures approx; 79cm x 62cm. 

Andrew Chappin - A late 20th Century oil on board still life painting depicting a table adorned with fruit, copper kettle, pots and pans etc. Signed to the lower right and dated '92. Inscribed to the verso 'began May 21st 1987'. Painting measures approx; 730mm x 1000mm.   

Circle of JOSEFA DE AYALA Y CABRERA (Seville, 1634 - Óbidos, Portugal, 1684), 17th century."Salome with the head of the Baptist".Oil on canvas. Relined.With repainting and restorations.Measurements: 110 x 88 cm.This work drinks from the influence of Josefa de Ayala of the tenebrist naturalism that characterized the paternal style, but developing its own personality reflecting a particular poetic intuition, with a loose palette and free of academic impositions, stopping in the detail of the decorative elements that populate his canvases. The piece shows Salome, Idumean princess daughter of Herodias and wife of Herod Philip I, carrying on a tray the decapitated head of St. John the Baptist, illustrating a Gospel passage narrated by Matthew (14:1-11) and Mark (6: 22-28). It is a three-quarter composition, with the lady richly attired in the fashion of the time, set against a background of clouds.Josefa de Ayala, also known as Josefa de Óbidos, is the most renowned painter of the second half of the 17th century in Portugal. Her father, Baltasar Gómez Figueira, went to Seville around 1626, when Portugal and Spain were unified. He began working in the workshop of Francisco Herrera the Elder, Josefa's future godfather, with whom he shared the first years of his life before returning to Óbidos, his father's hometown. Josefa decided to dedicate herself to painting, beginning to work with her father. One of the first genres they developed and thanks to which they gained fame and fortune were still lifes, as it was a subject that was not practiced in Portugal and turned out to be a fantastic commercial success. He had a deep relationship with the ecclesiastical sphere which facilitated the commissioning of numerous works in churches and convents. His fame continued to grow following the commission of the famous portraits he carried out of the royal family. During 2015 the Museum of Ancient Art of Lisbon exhibited an exhibition dedicated to this great artist as the architect of the invention of the Portuguese Baroque, emphasizing her importance as one of the few outstanding painters in the history of modern art.

MARIANO NANI (Naples, 1725-Madrid, 1804)."Still life of hunting".Oil on canvas.Slight repainting (about 10%).Work reproduced in "Die Genrebilder der Madrider Teppichmanufaktur und die Anfänge Goyas", Berlin, reproduced on page 177 and catalogued with the number 342.Measurements: 68 x 198 cm; 94 x 224 cm (frame).Son and disciple of the also painter Giacomo Nani, Mariano Nani was an artist specialized in painting still lifes of hunting. Around 1755 he began working like his father in the royal porcelain factory in Capodimonte. He moved to Spain in 1759 in the entourage of Charles III. Settled in Madrid, he collaborated with his designs in the creation of the Royal Porcelain Factory of Buen Retiro without abandoning the painting of still lifes and miniatures, a technique he taught to his students, José de la Torre and Manuel Sorrentini. In 1764 he became a member of merit of the Royal Academy of Fine Arts of San Fernando. From 1775 and through the mediation of Anton Raphael Mengs, he also provided cartoons for the Royal Tapestry Factory of Santa Barbara. In the development of this activity he made some of the models that were to decorate the palaces of El Pardo and Aranjuez. His style defends hunting still lifes not exempt of dramatism, with large prey, such as deer and wild boars, or small ones such as rabbits or hares. His compositions, influenced by those of the Netherlands, tend to the naturalistic representation, transmitted through a precious and soft technique, with balanced tonalities. Currently his works are preserved in important art galleries in the country, highlighting the Prado Museum.Highly appreciated within the antiquarian market, as well as among collectors and art historians, the Neapolitan still life school of the Baroque enjoyed a spectacular development, leaving behind the splendors of the 16th century and progressing within a fully Baroque and clearly identifiable style. Artists such as Tommaso Realfonso, Nicola Casissa, Gaspare Lopez, Giacomo Nani and Baldassare de Caro continued the local tradition by specializing in the painting of flowers, fruits, fish and game, thus satisfying the demand of a vast clientele characterized by a new taste typical of the 17th century. To these authors must also be added the minor figures, who are slowly emerging from an unjust oblivion, and some artists who worked between the seventeenth and eighteenth centuries, such as Francesco della Questa, Aniello Ascione, Nicola Malinconico, Gaetano Cusati, Onofrio Loth, Elena and Nicola Maria Recco, Giuseppe Ruoppolo and Andrea Belvedere. These Neapolitan still life painters, who worked during the 17th and early 18th century, are called "i generisti", and were important not only within their own environment but also, and especially, in Spain, where the development of the genre was clearly marked by the Italian influence, specifically by the contribution of the Neapolitan school. Today this school is considered one of the most outstanding within the Baroque still life. The distinctive sign of Neapolitan Baroque painters was always their strong naturalistic character and their warm chromatism, with a dominance of reddish and earthy tones.

Flemish school of the second half of the seventeenth century. Circle of FRANS SNYDERS (Antwerp, Belgium, 1579 - 1657)."Cockfight".Oil on canvas. Relined.Needs restoration.Measurements: 160 x 225 cm; 190 x 250 cm (frame).During the XVII century, in Flanders there was an increasing demand for paintings to decorate the houses of the bourgeoisie. Apart from portraits and large canvases with religious, historical or mythological themes, artists specialized, painting medium-sized works that gradually increased in format, with still lifes, animals, landscapes and genre scenes. The paintings that reproduce collectors' cabinets of the time are explicit in this respect, to the point of originating a new autonomous pictorial genre. Undoubtedly, the future of this painting would have been different without Rubens, whose art revolutionized the artistic panorama of Flanders, introducing a new fully baroque way and bringing a sense of unity and opulent sumptuousness to the ordered and encyclopedic sample that were the precious descriptions of his countrymen.Debtors of his manner or subordinate to his work, the specialists worked in a new line, adding to their compositions an accessory object, a landscape or a decorative background. Frans Snyders (1579-1657), the great Flemish master of still life and animal painting, the genres most sought after as domestic ornament by Flemish clients, was close to this system of work and its technique. His compositions, like those of his followers, are presided over by a broadness and heroic tone that we can also appreciate in this canvas. The present work represents a confrontation between two roosters. The scene takes place on the outskirts of the corral, with the rest of the hens and small chickens hanging around the place. In the last instance rises the hut of the guardian of the farm, in a markedly horizontal landscape, enclosed by the voluptuous clouds that bathe the scene.

20th century English school - Outside Studio, July '06 - still life of flowers, watercolour, framed & glazed, 18 by 23cms.

Simmonds (modern British) - Abstract Portrait of a Man - oil on board, signed to verso, 42 by 39cms; together with three other by the same artist, Abstract Nude, Caravan Park and Still Life (4).

Josephine Simmonds (b1940) - four unframed studies - self portrait, nude study, abstract and still life, the largest 64 by 64cms (4).

20th century continental school - Still Life of Flowers in Baskets - oil on board, monogrammed lower right, framed & glazed, 24 by 20cms.

Vernon Henri (20th century school) - Still Life of Tulips in a Vase - signed lower left, oil on board, framed, 34 by 110cms.

E Round - a pair of still life paintings of fruit, signed lower right, oil on canvas, framed, 28 by 38cms (2).

In the manner of Edward Harry Handley-Read (1870-1935) - Still Life of Flowers in a Vase - oil, framed & glazed, 26 by 30cms.

A still life oil on board - Flowers in a Pedestal Vase - framed, 23 by 19cms.

Sumalla (?) - Bird and Flowers - still life, signed lower right, oil on board, unframed, 46 by 60cms.

L Thomas - Still Life of Flowers in a Vase - oil on canvas, signed lower right, framed, 28 by 45cms.

G Farmer - Still Life of Bluebells in a Glass Vase - watercolour, signed lower left, framed & glazed, 15 by 22cms.

20th century school - Still Life of Roses in a Vase - oil on board, indistinctly initialled lower right, framed, 26 by 35cms.

20th century school - Still Life of Tulips in a Vase - oil on canvas, framed, 60 by 40cms.

JAN MOLENAER (Haarlem, ca. 1654-¿). "Kitchen interior with figures". Oil on panel. Attested by Luigi Caretto. Provenance: Gallery Helena Mola. Size: 40 x 39 cm; 54,5 x 54 cm (frame). In this work the influence that Jan Miense Molenaer (Haarlem, ca. 1610-1668), father of Jan Molenaer, had on his son is appreciated. In fact, the works of Jan Molenaer are so similar to those of his progenitor that, at times, they are even confused, especially since both painters signed with the same monogram J.M.R. Few facts are known about the life of Jan Molenaer, including the fact that he was a member of the Association of Artists of St. Luke in 1684. His artistic style, very close to that of his renowned father, included numerous paintings in which he depicted interior scenes of taverns with drinkers, smokers and card players, as well as domestic and family scenes. In his works one can appreciate the mastery with which he treats color, using a range of ochre and brown tones that give the scene a warm feeling. Undoubtedly, it was in the painting of the Dutch school where the consequences of the political emancipation of the region, as well as the economic prosperity of the liberal bourgeoisie, were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and material, the sensitivity to the seemingly insignificant, made the Dutch artist commune with the reality of everyday life, without seeking any ideal alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to evade tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect and masterful technique and a conceptual subtlety in the lyrical treatment of light. Because of the break with Rome and the iconoclastic tendency of the Reformed Church, paintings with religious themes were eventually eliminated as a decorative complement with a devotional purpose, and mythological stories lost their heroic and sensual tone, in accordance with the new society. Thus, portraits, landscapes and animals, still life and genre painting were the thematic formulas that became valuable in their own right and, as objects of domestic furniture - hence the small size of the paintings - were acquired by individuals of almost all classes and social classes.

Circle of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640)."Atalanta and Meleager."Oil on canvas. Relined.It presents restorations.It has a frame following ancient models.Measurements: 61 x 110 cm; 81 x 128 cm (frame).This work follows the models established by Peter Paul Rubens, in one of the works that belongs to the collection of the Prado Museum in Madrid, known as Atalanta and Meleager, hunting the boar of Calidon. The painting narrates one of the stories contained in Ovid's Metamorphoses, who tells how Diana sent a wild boar to Calidonia with the intention of devastating the place. The son of the King of that city, Meleager and Atalanta, his beloved, who were helped by Castor and Polux, organized a hunt to kill the boar.Both for the dynamic composition of the scene, in which all the figures are in active movement, and for the anatomical conception of the figures, the piece is very reminiscent of works by the artist Peter Paul Rubens, such as the piece in the Museo del Prado, "Diana and her nymphs surprised by the Satyrs". Peter Paul Rubens was a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, since his influence was also key in other schools, as is the case of the transition to full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important character in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who put him in contact, while still very young, with the best painters of the time. Rubens had three teachers, the first being Tobias Verhaecht, a painter of precise and meticulous technique who had traveled to Italy, and who instilled in the young painter the first artistic rudiments. It is also possible that Rubens traveled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter also oriented towards the Italian influence, with a language still Mannerist, and who must also have influenced the young man to visit Italy. Finally, his third teacher was Otto van Veen, the most outstanding and the last of them. After his training, Rubens joined the Antwerp painters' guild in 1598. Only two years later he made a trip to Italy, where he stayed between 1600 and 1608.

Circle of PETER PAUL RUBENS (Siegen, Germany, 1577 - Antwerp, Belgium, 1640). "Adoration of the shepherds". Oil on copper. Size: 74 x 56 cm; 83 x 67 cm (frame). The present work is a follower of the painting that Rubens, realized for the church of San Filippo in Fermo, in 1608 that at the moment is in the Gallery of Art Fermo Civic. There are certain differences in the figures, as well as in the postures. However, the characteristic gesture in Rubens' works, in which the Child is shown to his adorers, is preserved. In this case, the monumentality typical of Rubens' figures is preserved, especially in the female figure kneeling before the Child. In addition, the fineness of the faces and the delicacy of the forms stand out. Both for the dynamic composition of the scene, as for the anatomical conception of the figures, the piece is largely reminiscent of works by the artist Peter Paul Rubens. Peter Paul Rubens was a painter of the Flemish school who, however, competed on equal terms with contemporary Italian artists, and enjoyed a very important international importance, since his influence was also key in other schools, as is the case of the transition to full baroque in Spain. Although born in Westphalia, Rubens grew up in Antwerp, where his family originated. His mother, Maria Pypelincks, was a very important character in his life. She gave him a courtly and cultural education, which included the study of Latin and Greek, as well as the Bible. It was in fact his mother who put him in contact, while still very young, with the best painters of the time. Rubens had three teachers, the first being Tobias Verhaecht, a painter of precise and meticulous technique who had traveled to Italy, and who instilled in the young painter the first artistic rudiments. It is also possible that Rubens traveled to Italy influenced by this first master. The second was Adam van Noort, a Romanist painter also oriented towards the Italian influence, with a language still Mannerist, and who must also have influenced the young man to visit Italy. Finally, his third teacher was Otto van Veen, the most outstanding and the last of them. After his training, Rubens joined the Antwerp painters' guild in 1598. Only two years later he made a trip to Italy, where he stayed between 1600 and 1608.

Odette Dumaret- A framed still life oil on canvas, titled 'Fleurs', 1935. Signed and label verso. H.60 W.74

Court lady figure; Sichuan, China, Han dynasty, 206 BC. - 220 AD. Terracotta. Measures: 49 x 30 x 24 cm. Terracotta figure of round bulk representing a court lady seated cross-legged, elegantly dressed, with an elaborate hairstyle and smiling face. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. However, the most famous today is the production of Han ceramics, in terracotta and generally decorated with cold-applied engobes, mainly black and red.

Horse with rider; Han Dynasty, 206 B.C- 220 A.D. Polychrome terracotta. The horse presents breakage in one of its ears. Measures: 29 x 30 x 13 cm. Sculpture representing a rider on his horse, a piece of the funerary trousseau made in terracotta round bulk and decorated with cold applied engobes. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious period of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. However, the most famous today is the production of Han ceramics, in terracotta and decorated with cold-applied engobes, mainly black and red.

Stick Man. China. Han Dynasty. 206 BC-220 AD. Terracotta, with polychrome. Measures: 60 x 12 x 7 cm. Male figure in terracotta, with finely modeled face. Originally, these pieces were dressed and with mounted wooden arms. Stickman figures were only used by the royal family and were placed as armies to help and protect the owner in the afterlife. The Han dynasty ruled China between 206 B.C. and 220 A.D., more than four centuries during which the political, social and economic structures of China were consolidated, leading the country to the most glorious stage of its history. Regarding the art of this time, it is still eminently funerary, although it reflects the very high artistic level that will be reached both in the capitals and in the provinces. These preserved objects provide us with information on the daily life and customs of the time, since the art becomes much more mundane than the bronzes of the Zhou and Shang periods. The structures of the tombs also changed: the Shang tombs were vertical, while the Han tombs were built as subway palaces. They were decorated with reliefs stamped with scenes from the life of the deceased, and a new material was incorporated as an artistic support, lacquer. However, the most famous today is the production of Han ceramics, in terracotta and generally decorated with cold-applied engobes, mainly black and red.

Torso of Venus pudica. Roman Empire, 2nd century A.D. Marble. Revolving marble pedestal. Measures: 76 x 40 x 30 cm (sculpture); 10 x 40 x 40 cm. (pedestal). Marble sculpture representing a Venus Pudititia just out of the bath. After Praxiteles created and installed in Cnidus the first plastic representation of a large female nude, other sculptors also made this theme their own. The complete nudity of the torso is due to the lack of arms that covered some parts of the body. This absence of upper extremities gives the sculpture a different aspect to the one it would have in origin. As a reference of such important iconography there is a statue preserved in its entirety in the Medici villa in Rome, which shows that the goddess covered her pubis with her left hand, while her right arm was raised to partially cover her breasts. The head, turned sharply to her left shoulder, was relatively small and the neck long, her hair was tied back on her head and a bun on top of the nape of her neck. Of the Venus presented it is still possible to observe the hair falling from her ponytail over her delicate shoulders. The model of the torso is a late Hellenistic work from the beginning of the 1st century B.C. From the position of its limbs, its composition and particular motifs such as the hairstyle, the Venus de Medici owes much to the Capitoline Venus of about 280 B.C., but modifies it according to the stylistic principles of its own time, for example, hips and shoulders and narrowing the waist. The Romans brought two important novelties to the world of sculpture: portraiture and historical relief, neither of which existed in the Greek world. However, they followed the Greek models for a large part of their sculptural production, a base that in Rome was combined with the Etruscan tradition. After the first contacts with the Greece of classicism through the colonies of Magna Graecia, the Romans conquered Syracuse in 212 BC, a rich and important Greek colony located in Sicily, adorned with a large number of Hellenistic works. The city was sacked and its artistic treasures taken to Rome, where the new style of these works soon replaced the Etruscan-Roman tradition that had prevailed until then. Shortly afterwards, in 133 B.C., the Empire inherited the kingdom of Pergamon, where there was an original and thriving school of Hellenistic sculpture. The huge Pergamon Altar, the "Gallus committing suicide" or the dramatic group "Laocoön and his sons" were three of the key creations of this Hellenistic school. On the other hand, after Greece was conquered in 146 B.C. most Greek artists settled in Rome, and many of them devoted themselves to making copies of Greek sculptures, very fashionable at that time in the capital of the Empire. Thus, numerous copies of Praxiteles, Lysippus and classical works of the 5th century B.C. were produced, giving rise to the Neo-Attic school of Rome, the first neoclassical movement in the History of Art. However, between the end of the 2nd century BC and the beginning of the 1st century BC there was a change in this purist Greek trend, which culminated in the creation of a national school of sculpture in Rome, from which emerged works such as the Altar of Aenobarbus, which already introduced a typically Roman narrative concept, which would become a chronicle of daily life and, at the same time, of the success of its political model. This school will be the precursor of the great imperial art of Augustus, in whose mandate Rome became the most influential city of the Empire and also the new center of Hellenistic culture, as Pergamon and Alexandria had been before, attracting a large number of Greek artists and craftsmen. In the Augustan era Rome contributed to the continuity and renewal of a tradition that already had a centuries-old prestige, and which had dictated the character of all the art of the area.

After Van Gogh, A still life of Fritillaries, coloured print, 29.5" x 24".

William Cruickshank (1848-1922) British, A pair of still life paintings of mixed flowers, watercolour on ivory, signed, each 7" x 4", (ivory bowed), (2).

Anne Diamond (1907-1985) British, A still life of mixed flowers, oil on canvas, signed and dated June 1964, 24" x 16".

English School, circa 1903, a still life of a pewter tankard and other objects, oil on canvas, indistinctly signed, 16" x 20", unframed.

Augustus William Enness (1876-1948) British, A still life of Chrysanthemums, oil on canvas, signed, 25" x 30".

Rene Tassoul (b. 1887) Belgian, A still life of flowers and an ornament, oil on canvas, signed, 16" x 13".

J. Howard (20th Century), a pair of oil on panel still life paintings of fruit, signed, each 5" x 7".

20th Century School, a still life of mixed flowers, oil on canvas, indistinctly signed with monogram, 22" x 18".

D. Warren (20th Century), a still life of mixed flowers on a marble ledge, oil on board, signed, 16" x 12".

T. Denver (20th Century), a still life of mixed flowers, oil on canvas, 24" x 20".

19th Century Continental School, A still life study of apples and grapes by a basket, oil on canvas, indistinctly signed, 12" x 13".

Duranty, French School 19th Century, A still life study of mixed objects on a tabletop, oil on canvas, signed, 13" x 18".

Jean Westgate, 20th/21st Century, 'Country Store' A still life of vegetables and provisions, oil on board, signed, 15.75" x 23.5".