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A mid century framed oil on canvas, still life flowers and fruit, indistinctly signed. H.86.5 W.117cm

George Willis-Pryce (1866-1949), a framed oil on board, still life flowers in a vase standing on a book, signed bottom left and inscribed to the reverse. H.73 W.45

A framed and glazed still life watercolour on paper. Depicting two fish on a woven mat. Unsigned. H.28 W.48

A quantity of unframed oil on boards including portrait, still life, cats etc

A gilt framed oil on canvas still life of roses. ****Condition report**** The image is approximately 23.5cm x 19cm frame is approximately 39cm x 33.5cm

‘ALFIE’, 1966 – PRODUCTION RELATED PAPERWORK AND CORRESPONDENCE (QTY)Alarge quantity of production related paperwork, 1963 – 1971, contained withintwo green card filing cabinet hanging files, both files with originaltypescript tabs Alfie, containing letters from various correspondents, majoritytypescript, some signed, contracts, financial statements etc., various subjectsinclude the film rights, casting the main character of Alfie, the film’s themesong, finances and contracts etc., the majority of the earliest correspondencefrom The Lew Grade Organisation, other correspondents include: Romulus Films,Paramount British Pictures, British Film Fund Agency, Paramount Film Service, SonnyRollins and various solicitors, of note:- A file copy of a letter from Gilbert to Lew Grade, 9 April 1964….”the onlyway to make this film is for a daring picture to be made…I don’t think we needa star for this… I think the quality of the play will go by the board unless weplay a real Cockney…” 1p.;- A typescript letter, signed from Grade to Gilbert regarding discussions with‘Jimmy’ Woolf of Romulus Films who suggested casting Laurence Harvey as Alfie,and a subsequent letter, 15 June 1964 in which Grade suggests the Lew GradeOrganisation back out of the project due to disagreements regarding casting andthat Gilbert continue the project with Romulus Films, 2pp; - A two-page agreement, 9 July 1964, between The Grade Organisation Limited andLewis Gilbert setting out the …terms of the agreement reached between usregarding the rights and interests in the copyright in a) A Play entitled“Alfie” and an original radio play entitled “Alfie Elkins and his Little Life”both written by Bill Naughton and b) A Screen Play by Bill Naughton based onsuch Plays;- A four-page agreement (first page missing), 22 July 1964, between ParamountBritish Pictures Limited and Sheldrake Films Limited stating that ThePicture shall star Mr. Terence Stamp;- A typescript letter, signed, from R. Howard Harrison on Paramount BritishPictures Ltd. Stationery, 12 February 1965, to Sheldrake Films Ltd., confirmingthat …we have agreed to substitute Mr. Terence Stamp with Mr. Michael Caine,1p; - A typescript letter, signed, from George Weltner on Paramount PicturesCorporation headed stationery, 6 April 1965, telling Gilbert….There is moreexcitement about ALFIE than I have seen here or felt for a long time….theExhibitors in the United States are beginning to pressure us about thepicture.  As you probably know, Europe isagog… 1p;- An autograph letter, signed, from Sonny Rollins, undated but circa April 1964,on The Windsor Arms Hotel, Toronto, Canada headed stationery, Rollins thankingGilbert for The very fine way in which you treated me throughout our acquaintance…,enquiring after Hylda and telling him….Both you and she have been soimportant to my work and to myself, not only in ‘Alfie’ but you have inspiredwithin me a deep respect and appreciation of a ‘worth while’ life…1p. oneither side of a single sheet; with a file copy of Gilbert’s reply, 4 May 1966,telling him….I cannot say how much your music has contributed to the successof “Alfie”……Of course, in the long run, “Alfie” will be forgotten, but theaffection which I and my family have for you, will be something much morelasting 1p.;- A small collection of material relating to the premiere at the Plaza Theatre,Piccadilly Circus, 24 March 1966 comprising two tickets for the ‘Gala WorldPremiere’, one for the Royal Circle, an invitation for Mrs A. Gilbert and Guestto the after party at The Cockney Pride; a mimeograph typescript list of theguest list for the premiere; and an original black and white press still of theexterior of the Plaza on the night of the premiere, the verso ink-stampedP.I.C PHOTOS LTD.; a Paramount Studios booklet for 1966, the coverfeaturing Alfie, with the news that the film Smashed The Plaza’sAll-Time Weekly Record!;- A telegram from Howard Koch, Vice-President of Paramount Pictures, undated….Ihave just screened “ALFIE” and there are not enough superlatives to tell youhow wonderful the picture is.  MichaelCaine, in my estimation, emerges as a big star and your direction has made thepicture seem like you are living it rather than watching it….;- An autograph letter from Jane Asher, signed, undated, sent from the TheatreRoyal in Bristol, telling Gilbert the film was….beautifullydirected…..Vivien Merchant’s performance…was absolutely BRILLIANT, oneither side of a sheet of paper, with a file copy of Gilbert’s reply, 31January, 1966, and a colour snap-shot of Asher with cast members MichaelCaine, Shelley Winters, Shirley Ann Field and Julia Foster, and another ofAsher with Gilbert’s son John, both – 9 x 13 cm.;- A typescript letter, signed, from John Woolf on Romulus Films Ltd headedstationery, 1 September 1966, sent to Gilbert at the Hilton Hotel in Tokyoduring the filming of You Only Live Twice, congratulating him on thesuccess of Alfie….John [Gilbert] tells me that Paramount sayit will gross ten million dollars at least. What a bit of luck for your Tax Inspector!, the letter also refersto the early discussions regarding the film Oliver!, Woolf tellingGilbert with regard to the casting of Richard Burton as Fagin….I have yourreservations well in mind…..I know how Burton would play the part and you needhave no fear that it would in any way compare with the Guinness Fagin, 1p.with corresponding Air Mail envelope;- A typescript letter, signed, from Dick Van Dyke on personalised stationery, 14November 1966, congratulating Gilbert on the film….A lot of scripts andstories come into my office; perhaps one day I will be lucky enough to find apiece of material like ‘ALFIE’ bearing a ‘Lewis Gilbert’ label….1p.; with afile copy of Gilbert’s reply; - A telegram from Joseph Freidman of Paramount Pictures to Gilbert at the HiltonHotel, Tokyo, undated but circa November 1966, giving news of rave reviews andbox office records; and a folder of material relating to various awards, mostnotably the 1967 Academy Awards, including: two programmes for the 39thAnnual Academy Awards Presentation, Santa Monica Civic Auditorium, April 10,1967; an unused ticket for the ceremony, a used ticket for the Board ofGovernors Ball following the ceremony with corresponding envelope; a seatingplan for the auditorium; two typescript letters on Academy of Motion PictureArts and Sciences headed stationery, one from Executive Director MargaretHerrick, signed, detailing arrangements for the ceremony, the other from thePresident of the Board of Governors regarding restrictions with regard to useof Academy Award symbols; an invitation from Ruth and Howard W. Koch to acocktail party to welcome Hylda and Lewis Gilbert to America for the AcademyAwards; and an elaborate silk-screened card from Hylda to Lewis, signed andinscribed My Personal ‘Oscar’ in all categories, Hylda, withcorresponding envelope inscribed in Hylda’s hand To Lewis Gilbert ‘ALFIE’;and related material  (a lot)With regard to John Woolf’s letter sent to Gilbert in Tokyo, 1 September 1966, discussing the casting of Richard Burton as Fagin, much to Gilbert’s regret, it later transpired that he was unable to direct Oliver! due to other contractual obligations and had instead to direct The Adventurers, which he described in his autobiography as “a big picture but it was a big picture about nothing”.  Richard Burton, amongst other unlikely candidates such as Peter O’Toole and Peter Sellers, had been briefly considered for the role of Fagin, as well as Julie Andrews and Elizabeth Taylor for the role of Nancy. ConditionReport: Overall goodFootnote: Lewis Gilbert regarded Alfie as his ‘breakthrough’ film.  The chapter devoted to the film in his autobiography is entitled ‘The Film That Changed My Life’.  In it he recounts how it was his wife Hylda who, following a...

Dia Azzawi (Iraq, born 1939)From the South: Siesta oil on canvas, framedsigned 'Dia Azzawi' and dated '68' (lower right) and further signed, dated and titled on the verso, executed in 1968100 x 82cm (39 3/8 x 32 5/16in).Footnotes:TWO IMPORTANT 1960'S COMPOSITIONS BY DIA AZZAWI EXHIBITED AT THE IRAQI ARTISTS SOCIETY AND NATIONAL MUSEUM OF MODERN ART Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Exhibition of Paintings by Dhia Al Azzawi, The National Gallery of Modern Art, Baghdad, 1968Published:Exhibition Catalogue, Exhibition of Paintings by Dhia Al Azzawi, The National Gallery of Modern Art, Baghdad, 1968, No.16'In [these] works, the topic is related to the south of Iraq rather than Baghdad... very much related to peasant life rather than everyday city life. [The South] is richer than the north.. if we take the intellectual side of things, many of the most important poets are from the South, as well as writers and artists. It is richer in culture in a sense' - Dia AzzawiCompositionally, the two following lots are perhaps archetypal of the artistic milieu that Dia Azzawi was operating in during the mid to late 1960's, the works flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which was founded by Jewad Selim and Shakir Hassan Al-Said. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Azzawi weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on recognisable ancient and local symbols, Azzawi's composition is stylised and simplified, almost creating an artistic caricature of Iraqi culture. Formative paintings within Azzawi's body of work, these would set the tone for his later contributions to the progress of Iraqi Modernism. Painted while the artist was still in his 20's, the works are stylistically sophisticated examples of a burgeoning modernist movement in Iraq.In the present works the artist abstracts cultural iconography mixing Islamic and pre-Islamic motifs found in ancient rock reliefs, Islamic manuscripts, metalwork and creates a rich tapestry of varied meaning as a result. In 'From the South: A Siesta', a heavily stylized figure with a rounded face and bulbous eyes reminiscent of ancient Mesopotamian totems reclines sympathetically on a carpet recalling the polychromatic brilliance of Bedouin textiles. Azzawi's abiding love and respect for the tonal characteristics of the natural world and for ancient Iraqi imagery shines through in this important early work, which echoes the formal approach and inimitable style of the 'New Vision' school of painting he would come to found in 1969. Azzawi typically incorporates structures and visual symbolism harking back millennia in his paintings, which is evident here in the pseudo-figurative form depicted in the composition, which recalls ancient Mesopotamian bass-reliefs and their mythological imagery.Azzawi started his artistic career in 1964, after graduating from the Institute of Fine Arts in Baghdad and completing a degree in archaeology from Baghdad University in 1962. His studies of ancient civilizations and Iraqi heritage had a profound impact on his art, and a key objective in the early formation of his artistic style was to link the visual culture of the past to the present.In 1969, Azzawi formed the New Vision Group (al-Ru'yya al-Jadidah), uniting fellow artists ideologically and culturally as opposed to stylistically. The group's manifesto, Towards a New Vision, highlighted an association between art and revolution, and sought to transcend the notion of a 'local style'—coined by the Baghdad Modern Art Group—by broadening the parameters of local culture to include the entire Arab world.With exhibitions of his work held worldwide, including a landmark retrospective in 2017 at Qatar's MATHAF, his art features in the collections of some of the world's most prestigious museums and institutions. He is also regarded, in the tumultuous post-conflict climate of 2000s Iraq, considered to be the ultimate authority on modernist and contemporary art from the region.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

CLIVE SUTTON Still life, with tulips and cat, monogrammed, oil on canvas, 74 x 59cm Condition Report: Available upon request

CONTINENTAL SCHOOL Still life, oil on board, 9 x 6cm (2) Condition Report: Available upon request

S WALKER Still life, signed, gouache, dated, (20)07, 54 x 76cm Condition Report: Available upon request

Digby PageA Pair, Still Life, Flowers in a Vasesigned, oil on canvas, 59cm x 3cm

the swan neck pediment with pierced Gothic fretwork above a crenellated and arcaded frieze, over a pair of astragal glazed doors enclosing shelves; the projecting base with a pair of circular panel doors outlined with bead moulding and enclosing shelves, on a plinth152cm wide, 285cm high, 61cm deepProvenance: Purchased Sotheby's, 19 November 2008, lot 233Footnote: Note: A similar secretaire bookcase attributed to William Brodie, formerly at Yester House, is illustrated in Francis Bamford, A Dictionary of Edinburgh Furniture Makers, 1983, pl. 26. The Yester House example has the same distinctive pediment as the present lot, however some stylistic differences indicate an earlier date for the present lot and keeps it more consistent with the designs promoted by Chippendale and followers. It therefore seems likely that this cabinet would have been produced whilst William Brodie was still in partnership with his father.William Brodie, son and partner of Francis Brodie from 1767 and possibly as early as 1764, inherited the business in 1782. William pursued a less reputable life after his father's death and his demise was brought about on Ist October 1788 when he was hanged for his involvement in a robbery at the Excise Office. The very few items of documented furniture by him include a mahogany clothes press in the National Museum of Antiquities of Scotland (see Bamford op. cit., pl. 27) and a suite of bookcases at Divinity Hall, Old College, Edinburgh.

Keith Baldock (20thC). Sea harvest, artist signed limited edition print, 25cm x 36cm, Steve Farrow Ross Jackal, print, signed, various still life prints, other pictures, frames, tipping prints, Oriental figure prints, a plaster style shield marked with hood set with crow and anchor, etc (a quantity).

Victoria Cross. WWI silver war badge issued to Lance-Corporal Harold Sandford Mugford VC, Machine Gun Corps, the silver badge numbered '379066', vertical pin, 39mm diameterQty: (1)Footnote: 51507 Lance-Corporal Harold Sandford Mugford (1894-1958) was born in St James' London, he served on the Western Front with 8th Squadron, Machine Gun Corps and was awarded the Victoria Cross for an action at Monchy-le-Preux, near Arras, France on 11 April 1917. London Gazette: 23 November 1917 'For most conspicuous bravery and devotion to duty when, under intense shell and machine gun fire, L./Cpl. Mugford succeeded in getting his machine gun into a forward and very exposed position. From this point he was able to deal most effectively with the enemy, who were massing for counter-attack. His No. 2 was killed almost immediately, and at the same moment he himself was severely wounded. He was then ordered to a new position, and told to go to a dressing-station as soon as the position was occupied. He refused to go to the dressing station, but continued on duty with his gun, inflicting severe loss on the enemy. Soon after he was again wounded, a shell breaking both of his legs. He still remained with his gun, begging his comrades to leave him and take cover. Shortly afterwards this non-commissioned officer was removed to the dressing-station, where he was again wounded in the arm. The valour and initiative displayed by L./Cpl. Mugford was instrumental in breaking up the impending counter-attack of the enemy.' As a result of his wounds sustained, Mugford was evacuated to England and underwent six operations. Both legs were amputated above the knee and shrapnel was removed from his hip, tongue and jaw. He was confined to a wheelchair for much of the rest of his life. Mugford was awarded the silver war badge on 20 July 1918. The Victoria Cross is on display in the Lord Ashcroft Medal Collection, Imperial War Museum, London, a powerful and emotive piece.

Tanqueray (Paul, 1905-1991). A large group of approximately 140 gelatin silver prints from the Paul Tanqueray studio, c. 1940s, gelatin silver prints, mostly studio portraits but also including still life and abstract studies, fashion prints, etc., mostly 20 x 25 cmQty: (approx. 140)

Military Diver. Flying and Diving apparel belonging to diver Eric Drummond circa 1960s, comprising bone dome flying helmet by Helmets Ltd, size 4 with integral visor, with original blue transport case stamped with stores reference number 22C/2407, inner cloth flying helmet with integral earpieces and rubber oxygen mask inscribed 'Drummond', another blue cloth lightweight flying helmet with stores reference 22c/1730 label additionally inscribed 'Drummond', pair of Stadium flying goggles, aluminum and brown leather with grey rubber strap, green cloth lightweight flying suit Mk7A, size 6, the leg retaining original Joseph Rodgers survival knife, a green cloth life preserver, diver's torch by G.E.C., grey painted finish the glass with protective bars (still working), another rubberised torch by Bardic Systems with optional red filter light, a diver's knife by Siebe Heinke, the 20cm double edge blade with black composite grip and brass top nut, 34cm long in its brass sheath with brown leather belt and rope line attached, a certificate to 2228730 WOI Drummond REME for completing 22 years service in the British Army, framed and glazed, Army Diver's Log and other related itemsQty: (a carton )Footnote: 22287820 WOI Eric Drummond was born in 1932, he qualified as a diver in 1964, his logbook lists various exercises until 1967 including diving trials with helicopter free drop. Drummond retired from service with the REME in 1972 (a framed certificate to Drummond titled 'Appreciation of Leaving the Colours' is included with the lot).

August COSTENOBLE (1894-1976) A flower still life, oil on canvas. (65 x 50 cm)

Four modern decorative prints of various scenes including farm yard, still life, flowers in a vase, and a child seated on her mother's lap, largest approximately 39.5 x 29.5cm, each in ornate gilt frame, (4).

ATTRIBUTED TO C F THOMAS; watercolour, still life study of musical instruments, music sheets and books, unsigned but with E.S.K. blind stamp lower left, 24.5 x 54.6cm, framed and glazed.Additional InformationImage generally clean and bright. Frame with light wear be a small chip to the bottom left corner. 

ARTHUR DUDLEY (AKA GIOVANNI BARBARO 1864-1915); watercolour, still life study of fruit and jug, signed A. Dudley and dated '91 lower right, 26 x 74cm, framed and glazed.Additional InformationFoxing, some further marks scuffs, etc as well as marks to frame.

C F THOMAS; watercolour, still life study of violin and music books, signed within picture, 'E.S.K' blind stamp lower left, 35.3 x 50.5cm, framed and glazed.Additional InformationImage with some light foxing and spotting, wear to frame.

THEODORUS VAN OORSCHOT (DUTCH 1910-1985); oil on canvas, still life of flowers in a jug, signed lower right, 79 x 59cm, framed. (D)Additional InformationImage clean and bright. The canvas slightly saggy to lower right. Frame with light scuffs.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

SH; pair of oil on canvas, stags in winter landscape, 90 x 32cm, together with oil on canvas depicting still life, by CM Wood, in rosewood frame, (3).

AFTER OLIVER CLAIRE; oil on board, still life of fruit, 21 x 28.5cm, framed.Additional InformationImage is lightly grubby throughout and with a few light surface scratches, there is a slight split to the upper middle point of the board with some losses to the paint.

AUGUSTUS HENRY FOX (act.1822-1895); oil on canvas, still life, flowers in a vase, signed lower right, 59 x 49cm, framed.Additional InformationCraquelure to the oil, minor knocks to the frame, small areas of loss to the frame, folds to the canvas.

DUNCAN GRANT (1886-1978); oil on board, 'Still Life With Coffee Pot', signed, various stencil chalk and other marks verso, 42 x 59cm, framed. (D)Provenance: private collection North West. Purchased in the 1990s via a fine art consultant.We would like to thank Richard Shone for his assistance in authenticating this work.Additional InformationThere is a diagonal surface mark to the right hand side of the teapot handle running to the edge of the frame. A couple of tiny areas of paint loss, and a 4-5cm surface mark from the right edge of the board, approximately 12 cm up from the bottom right hand corner.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

FREDERICK DUBERY; oil on board, still life of flowers in a vase on a kitchen table, signed lower right, 26 x 21.5cm, framed. (D)Additional InformationThe image lightly grubby in parts. The frame with general scuffs and knocks.This lot qualifies for Artist Resale Rights. For further information, please visit http://www.dacs.org.uk or http://artistscollectingsociety.org

ENGLISH SCHOOL 20TH CENTURY; oil on board, study of three figures in an interior, indistinctly signed lower right possibly Richard Seifeit, 19 x 25.5cm, also a modern oil on paper still life of objects on a table, initialled PAW, an oil on board of a river scene indistinctly signed S. Grant Pows, an oil on paper, study of a silver birch in a landscape, three Russian limited edition prints of original designs from the Bolshoi Nutcracker and a study of Iris flowers (8).

A highly decorative Edwardian marquetry inlaid mahogany display cabinet, with panel back inlaid with a still life scene of fruit in a cornucopia, above the single glazed door enclosing two fixed shelves, raised on spade feet, width 69.5cm, height 174cm, depth 40cm. 

ANTHONY DEVAS (BRITISH, 1911-1958)Still life of flowers in a vasesigned and dated 'Devas '58' (upper right)oil on canvas46 x 36cmARR

SIDNEY A COURT (BRITISH, EXH. 1933)Still life of flowers in a vasesigned and dated 'S.A. COURT 1947' (lower right)oil on board45 x 28cmThe board is sound and the paint surface in good overall condition.  Ultraviolet reveals a few flecks of fluorescent paint but this would seem to be the hand of the artist.

CATHLEEN S MANN (BRITISH, 1896-1959)Still life of flowers in a vasesigned 'Cathleen Mann' (lower left)oil on canvas76 x 60.5cmARRProvenanceRyman & CoPrivate collection, UK

CLAUDE VENARD (FRENCH, 1913-1999)Still life with glass and jugsigned 'C VENARD' (lower centre)oil on canvas27.5 x 19.5cmARRCondition reportOriginal canvas; paint surface is sound, very minor discolouration to the varnish, certain fields of pale green have minor craquelure, as does a field of black paint, upper left.  No sign of retouching under UV.

KATE WYLIE (BRITISH, 1877-1941)Still life of marigolds in a vasesigned 'KATE WYLIE' (lower right)oil on canvas51 x 40.5cmCondition reportOriginal canvas.  The paint surface is clean and sound.  Ultraviolet reveals no sign of retouching.  Held in a plaster gilt frame in fair condition.

MAURICE ALFRED DECAMPS (FRENCH, 1892-1953)Still life of flowers in a vasesigned 'maurice Decamps' (lower right)oil on canvas54 x 81.5cmARRCondition reportCanvas has been relined.  Paint surface appears clean and sound.

MAURICE ALFRED DECAMPS (FRENCH, 1892-1953)Still life of roses in a vasesigned 'maurice Decamps' (lower right)oil on canvas46 x 55.5cmARRCondition reportOriginal canvas.  Paint surface appears clean and sound.  Ultraviolet reveals signs of florescence, lower right but seems to be hand of the artist.  Held in a composite Gil frame in fair condition.

PATRICK FERGUSON MILLARD (BRITISH, 1902-1977)Still life with grapesbears labels (verso)oil on canvas26 x 36cmARRCondition reportOriginal canvas.  Paint surface is in good overall condition.  UV reveals no sign of retouching.

OLWEN TARRANT (BRITISH, 1927-2012)Still life of flowers and fruit with cattle in the backgroundsigned 'OLWEN TARRANT' (lower right)oil on canvas51 x 40cmARROriginal canvas.  The paint surface is in good clean condition.  Ultraviolet reveals no sign of retouching.

LYDIA CORBETT (BRITISH, B. 1934)Still life of a cabbage, fruit and flowerssigned 'Lydia Corbett' (lower left)watercolour, pen and ink40 x 49cmARR

LYDIA CORBETT (BRITISH, B. 1934)Still life of flowers in a vasesigned 'Lydia Corbett' (lower right)watercolour, pen and ink49.5 x 37cmARR

JOANNE PEMBERTON-LONGMAN (BRITISH, 1918-1973)Still life with shellsigned 'J P Longman' (lower left)oil on canvas40.5 x 50.5cmARRProperty sold to benefit a charitable trust

JOHN MILLER (BRITISH, 1911-1975)Still life with wine and fruitsigned 'JOHN MILLER' (lower right)oil on canvas76.5 x 101.5cmARRProperty sold to benefit a charitable trust

RAYMOND CAMPBELL (BRITISH, B. 1956)Still life, Chateau Beychevellesigned 'Raymond Campbell' (lower left)oil on board59 x 29.5cmARRProvenanceForest Gallery Fine Art, GuildfordPrivate collection, UK

RAYMOND CAMPBELL (BRITISH, B. 1956)Still life, Chateau Mouton Rothschildsigned 'Raymond Campbell' (lower left)oil on board59.5 x 29.5cmARRProvenanceForest Gallery Fine Art, GuildfordPrivate collection, UK

FRANK ARCURI (AMERICAN, B. 1946)Still life of two busts of women, a violin, cello and French hornsigned and dated 'F S arcuri 2000' (lower left)oil on canvas102 x 128cmProvenanceThe Catto Gallery, LondonPrivate collection, UK

FRANK ARCURI (AMERICAN, B. 1946)Still life of tulips in a blue and white vasesigned and dated 'F S acuri 2002' (lower left)oil on canvas102 x 76.5cmCondition reportOriginal canvas; minor spots of staining, lower left, otherwise paint surface is sound.  Ultraviolet light reveals no sign of retouching.

MICHAEL GORBAN (RUSSIAN/ISRAELI, B. 1956)Still life of a violin, letters and musicsigned 'GORBAN. M.' (lower left)oil on canvas61.5 x 77cm

JUAN BARJOLA (Torre de Miguel Sesmero, Badajoz, 1919 - Madrid, 2004)."Sálvese quien pueda", 1990.Oil on canvas.Attached certificate of authenticity issued by Antonio Machón.Signed in the lower right corner.Measurements: 100 x 81 cm.From the decade of the eighties Barjola, began to soften his chromatic palette, making use of more brilliant and luminous tonalities. This change was also reflected in his brushwork, which became freer and lighter, resulting in a more serene painting. This work is the reflection of these changes, without abandoning his personal idiosyncrasy based on a gestural and expressive painting dominated by his own iconography, such as the figure of the bull present in this piece. It is worth mentioning that the work has a certificate issued by Antonio Machón, a renowned gallery owner who has dedicated his life to the study and artistic research, giving numerous lectures and participating in masters on creativity.Belonging to the current of representative expressionism, Juan Barjola is one of the most outstanding Spanish painters of the second half of the twentieth century. Already as a child he showed his love for drawing, which led his parents to guide him on the path of art. At the age of fifteen Barjola arrives in Badajoz to begin his training, and enters the School of Arts and Crafts of the city. Fully committed to his incipient career, in 1943 he moved to Madrid, where he first studied at the School of Arts and Crafts on La Palma Street and, later, at the San Fernando School of Fine Arts. At the same time, he furthered his training at the Prado Museum, where he copied Velázquez and interpreted Goya, Brueghel, El Greco and Bosch. During this period, which ended in 1950, Barjola produced a series of academic works of a naturalistic style, with themes taken from family life, suburban characters and other genre scenes. Around 1950 he began a new stage of post-cubist style, a prevailing trend in Madrid at that time due to the influence that Daniel Vázquez Díaz exerted on a whole generation. During these years Barjola would develop faceted images, with flat treatment and bluish and cold colors. At the same time he began to develop a new, more constructive stage, marked by earthy colors. In 1957 Barjola made his individual debut at the Abril gallery in Madrid, and that same year he held two more personal exhibitions in Brussels, at the Theatre and Vallvora galleries. He then began a brilliant exhibition career that would take his work to Europe, Japan, the United States and Latin America. Around 1958 he began a short but intense period in which he experimented with a language of abstract tendency in which the pictorial matter assumed the leading role in the painting. His work will now be marked by thick and sumptuous impastos of sordid and dark colorations, which form abstract and organic still lifes. It is the moment of apogee of the material abstraction led by Tàpies from Barcelona. A year later, and without disappearing the thick impastos, the organic stains begin to be resolved in human embryos, the result being a return to figuration in line with the international trend initiated by Francis Bacon. Barjola thus became the main Spanish representative of the New Figuration. In 1960 he received a grant from the Juan March Foundation which allowed him to travel to Paris and Belgium, and in 1963 he was awarded the Eugenio D'Ors Medal by the critics. That same year he exhibited at the Dirección General de Bellas Artes, and shortly after he was awarded the National Drawing Prize at the National Exhibition (1968). Towards 1964 his work undergoes a new evolution, marked by the paintings of Velázquez, Goya and El Greco.

CELSO LAGAR ARROYO (Ciudad Rodrigo, León, 1891 - Seville, 1966)."Female nude".Oil on canvas.Signed in the upper right corner.Attached certificate issued by the Lagar Archive.Measurements: 68 x 50 cm; 78 x 60 cm (frame).Celso Lagar offers us in this canvas a female nude captured from life. For it he uses an energetic language that seeks above all to capture the volumetry and the geometric game, although he maintains descriptive details that avoid the loss of realism. The woman shows the viewer practically her entire naked body, since only the lower part of her legs remains outside the perimeter of the support.Celso Lagar began his training in the field of sculpture with Miguel Blay in Madrid. His teacher advised him to travel to Paris to complete his studies and, after spending a year in Barcelona, he traveled to the French capital for the first time in 1911. Lagar's career, both personally and artistically, can be divided into four distinct stages, marked by the two World Wars. The first of these periods is that of apprenticeship, in Madrid, Barcelona and Paris, in contact with artists such as Amadeo Modigliani. This stage comes to an end when he is forced to leave Paris at the outbreak of the Great War. He settled in Barcelona but held several exhibitions in the French capital, which served as a letter of introduction upon his return to the city after the war, in 1919. By then Lagar is already a consolidated artist, and settles definitively in Paris. He regularly exhibited in the best Parisian galleries (Berthe Weil, Percier, Zborowski, Barreiro, Brouant, Druet), his style reached its personal maturity and he devoted himself fully to painting, leaving sculpture behind. He developed a painting focused on very specific themes: still lifes, Spanish themes, landscapes and circus scenes. After the period of avant-garde influences (cubist, fauvist, etc.), Lagar reached his own style, marked by the influences of Goya and Picasso. Gradually his palette cools down, but his favorite themes remain the same, and his recognition by the public and critics increases. The beginning of World War II marked the end of Lagar's golden age. He emigrated to the French Pyrenees, and his return to the recently liberated city of Paris did not have the repercussions he had hoped for, as the collecting public demanded new contents and modes. After his wife fell ill in 1956, Lagar fell into a deep depression and was admitted to a psychiatric center. He definitively stopped painting and in 1964 he returned to Spain, spending his last years at his sister's house in Seville. Lagar is represented in the Museum of Contemporary Art in Madrid, the Museum of Art Nouveau and Art Deco Casa Lis, the Patio Herreriano in Valladolid, the Petit Palais in Geneva, the Fine Arts of La Rochelle, Castres and Honfleur (France) and in prestigious collections such as Crane Kallman (London), the Zborowski (Paris) or the Mapfre (Madrid).

Ken Jepson: oil on board of canal boats 34x33cm, S. Fenton: watercolour of a street scene, an oil on canvas still life and a signed print.

Two framed still life oils of flowers; a river scene oil framed

Paul Lucien Maze,Still life of flowers,signed, pastel drawing,27x38cm.

PAVEL TCHELITCHEW (RUSSIAN 1898-1957)STILL LIFE OF FLOWERS IN A VASEInk Signed (lower right)40 x 24.5cm (15½ x 9½ in.)Provenance: Dame Edith Sitwell DBE (1887-1964), at 2 Carlyle Square, LondonThence by descent at Weston Hall.Condition Report: Under glass, unexamined out of glazed frame. The mount is stuck on top of the sheet attached at the sheet edges. The edges of the sheet are visible under the mount recto. Slight undulation to the sheet. Light surface dirt and handling creases scattered throughout the sheet. There is a small area of staining to the lower left corner. The work may benefit from remounting. The mount has light surface dirt and handling creases throughout. There is a water stain running along the lower edge of the mount. Condition Report Disclaimer

Timothy Oulton Rectangular Dining Table With Black Metal Base Solid Wood Top Edgy, Stylish And Striking This Collection Will Bring Your Home Up To A New Level Of Contemporary Class Whilst Still Giving You Expertly Constructed Furniture Built To Last You A Life Time 210 X 100 X 76cm SR46 Ex Display Showroom Item

Framed Original Art  by John Randall Bratby (1928–1992) (Born Wimbledon, Surrey [now in Greater London], 19 July 1928; died Hastings, Sussex, 20 July 1992).Titled and inscribed The Aphrodite Girl – Belly Dancer at The AphroditeTaverna Hastings John Bratby 18 Jan 19912nd day of war Bratby British painter and writer was a versatile artist: he painted portraits, still lifes, figure compositions, landscapes, and flower pieces, and also designed film sets. He is probably best known for the scenes of drab domestic life he painted in the 1950s, when he was a member of the Kitchen Sink School. Later his work became lighter and more exuberant. His talent for self-promotion helped to make him one of the best-known British artists of his generation. Among his publications are the novel Breakdown (1960) and a book on Stanley Spencer (1970). Text source: The Oxford Dictionary of Art and Artists (Oxford University Press) Framed and mounted 60 x 78cm

λ GINO SEVERINI (ITALIAN 1883-1966) STILL LIFE WITH VIOLIN AND WINE Ink and gouache Signed (lower right) 15.5 x 11.5cm (6 x 4½ in.)

Vincent Clare (British, 1855-1930), Still life, a pair, oil on canvas, relined, 8½ x 11½in. (21.5 x 29.2cm.). (2) * Provenance: Cooling Galleries, 1970

Kate Wylie (Scottish, 1877-1941), Still life of auriculas in a vase oil on canvas, signed lower right 11¼ x 8¼in. (28.5 x 21cm.)* Provenance: Fraser & Son, Dundee, label verso* Condition: Strengthening and retouching is visible under UV to the shadow around the lower edge of the vase. Also, additions to the top left leaf visible under UV. These have a more matted appearance to the varnish than the remainder of the picture when viewed with light reflecting on the surface of the paint. The board is flat with no warping.

Italian School (early 20th century), Still life of roses in a classical urn, a Roman bust, books, bronze bowl and artist's palette in a classical landscape, oil on canvas laid onto board, signed with initials 'MN', 32¾ x 32¾in. (83.2 x 83.2cm.), modern gilt frame.

F. V. Stovin (20th century), Still life of anemones in a blue jug oil on board, signed lower left 10¼ x 8¼in. (26 x 21cm.)