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20th Century oil on canvas, still life of eggs, signed Desmond in a distressed painted frame, 10ins x 16ins, with nude study verso

19th Century watercolour, still life of a shell and bullrushes in a vase, bearing ESK stamp and monogrammed M. P. W. dated 1891, gilt framed 24ins x 18ins

Small 20th Century oil on canvas board, still life, spray of flowers in a blue vase, monogrammed M, in a modern frame 8.5ins x 6ins

Set of three Chinese watercolours on rice paper, still life, vases of flowers, 8ins x 5ins, gilt framed

V. Varani, 20th Century oil on canvas, still life fruit and drinking glasses with decanter, signed 19in x 27in, framed

20th Century oil on canvas, still life study, ceramics etc. on a table, unsigned, 29ins x 31ins, unframed together with another oil on canvas, figure on a track, unsigned

Large 19th Century oil on canvas, still life of fruit and a jug on a marble ledge, unsigned, gilt framed, 20ins x 30ins (at fault)

Brian Davies, 20th Century oil on panel, still life study of fruit and a drinking glass on a table, signed 7.5in x 9.5in, gilt framed

Brian Davies, 20th Century oil on canvas, still life study of shellfish, fruit and champagne bottle on a table, signed, 17.5in x 21.5in, gilt framed

*Uriel Eekhoff (Dutch, 1923-2014)A still life of fruits on the tablesigned l.l., oil on canvas59 x 81cmExhibited: Portal Gallery, London.*Artist's Resale Right may apply to this lot.

*Maurice Prou (French, 1883-1954)A still life of assorted flowerssigned l.r., oil on board61 x 50cm*Artist's Resale Right may apply to this lot.Condition report: Nicks to the board with small losses to paint surface all over.

Maurice Asselin (French, 1882-1947)A still life of a coffee pot, herrings and eggssigned l.r., oil on canvas38.5 x 46.5cmCondition report: No obvious condition issues.

Vladimir Burdin (Russian, 20th/21st century)'Still Life with Fish'signed and dated '99 l.r., also inscribed and dated verso, oil on canvas80 x 85cm

Artashes Abraamyan (Armenian, 1921-2003)Still life with snowdropssigned and dated '80 l.r., oil on canvas58 x 42cm

*John Piper CH (1903-1992) Still Life with a Gargoyle, circa 1981 signed upside down u.l., titled verso, pen and ink, watercolour and gouache 56 x 78.5cm Provenance: Sir David Tang, Hong Kong The dark colours and bold juxtaposition of foreground subjects can be found in several works executed in the early 1980s - a period when Piper experimented with new compositions, drawing from his existing painting and work in other media, such as photography and ceramics. The sculpted head relates to similar female forms found notably in 'Girl’s head with flowers' (1981) and 'A Window at North Moreton' (1982), which both introduce a woman’s face into the artist’s more familiar subject matter. Similar dog-like gargoyles appear in one of Piper’s photographs now held at the Tate Gallery, (ref: TGA 8728/1/21/115), while the background figures are drawn from a large screenprint, 'Eye and Camera: Blue to Ochre' (c.1977), also at the Tate. For further details and illustration of related work in this period, see D F Jenkins and H Fowler-Wright, 'The Art of John Piper' (Unicorn/Portland Gallery: 2016, pp.397-400). *Artist's Resale Right may apply to this lot.

*Edward Noott (b.1965)Still life of fruit and wineoil on canvas64 x 76cm*Artist's Resale Right may apply to this lot.

*Pamela Chard (1926-2003)Still lifeoil on board100 x 62cm, unframed*Artist's Resale Right may apply to this lot.Condition report: All works from the Chard Studio are subject to condition issues. As they have been stored in a studio or attic for many years they are dirty.Many have scratches, paint loss, damage to stretchers and frames.Some works also have dents, holes and tears.Unframed.  Some light surface dirt and scuffs to edges of board.No obvious major condition issues.

Phelan Gibb (1870-1948)Vase of flowers;with another still life and a landscapethree, the first signed and dated 1945, the second signed and dated 1931watercolour52.5 x 39cm, unframed (3)Provenance: Lucy Wertheim, thence by descent.Condition report: See additional images.Still life with blue vase - 50.5 x 34cm, pin holes, edges tatty.Still life with green & blue vase - 52.5cm x 39cm, tear across signature. Creases, tear at bottom half.Landscape - 33 x 47cm, fold mark to left of centre. Pinhole.

*Bennett Oates (1928-2009)A still life of flowers in a glass vase on a ledgesigned l.r., oil on board61 x 53cm*Artist's Resale Right may apply to this lot.

*Gerald A Cooper (1897-1975)A still life summer flowers in a glass vasesigned and dated 1946 l.r., oil on canvas76 x 63cm*Artist's Resale Right may apply to this lot.Condition report: Seeing the painting under uv light shows there is retouching in quite a few areas of still life, and a wash over background. Please see additional condition images.

*Gertrude Harvey (1879-1966)A still life of a vase of summer flowers signed l.l., oil on board51 x 41cm*Artist's Resale Right may apply to this lot.Condition report: Surface a little dirty. Some tiny paint losses, including to lower right corner and upper right in background.

*Gertrude Harvey (1879-1966)A still life of a bowl of fruit and a hyacinthsigned l.l., with artist's label verso, oil on canvas46 x 46cm*Artist's Resale Right may apply to this lot.Condition report: Not viewed out of glazed frame. Dust under glass and on canvas. Some craquelure.

*Cedric Morris (1889-1982)French landscapesigned l.r., oil on canvas45.5 x 55cmProvenance: Sotheby’s London, 26 September 1984, lot 274.Cedric Morris had an enduring interest in landscape painting stretching back to his early years as a painter. Before the late 1920s, although interested in nature, he was yet to develop his passion for horticulture and so his output was varied in its scope and comprised of many portraits, landscapes and also birds. He lived for two years between 1918 and 1920 in Newlyn, and then along with his partner Lett Haines moved more permanently to Paris towards the end of 1920, using it as a base for the majority of the decade to come. From here, he could travel widely and he spent the summers throughout Europe in pursuit of new landscapes for inspiration. He spent time in Italy, the Dordogne, and Normandy where Margaret Morris, wife of the colourist J D Fergusson held her summer school. Like many artists, he was drawn to the south of France, in particular to the vallée de l'Ouvèze, where he remarked of his work there: 'I think the landscapes are the best I have ever done, rather like the Newlyn ones, the colour suits me' (Hugh St. Clair, 'A Lesson in Art and Life’ Pimpernel Press Ltd., 1919, p.48).In his Mediterranean works we can see a difference in colours as Cedric responds to the drier landscape - the heavy, rich greens and browns that saturate his British and Welsh views are still present, but toned more sparsely amongst ochres, Naples yellow and raw umbers, punctuated with accents of pale blues and pinkish hues. In our picture we can feel the difference in climate, the dry arid sandy soil and rocks of the foreground and the lighter-coloured olive trees beyond. The work is typical of his painting style - richly impastoed, with clearly defined brush strokes applied in varying angles across the surface. The work is impressionistic; he manages in a few gestural stokes to depict a startling variety of trees and shrubs, indicating his huge appreciation of the variety of flora around him.*Artist's Resale Right may apply to this lot.Condition report: Light surface dirt, may benefit from cleaning. Canvas not entirely flat but this may be due to thick impasto and does not detract from appearance. Back of canvas has been painted. Small rusty coloured mark to upper left corner, this shows up under uv light. Another small mark in trees directly below this also shows up under uv light. Please see additional images.

A gilt framed still life

A modern oil on canvas still life study; and a modern print

Four various pictures to include an RAF embroidery, a coloured print depicting a girl with puppies, a still life oil painting and a print after Lawson Wood

A 19th century oil painting still life study of flowers attributed to a Thomas Broadbent Dutch School. In a gilt frame. 77x65cm

A gilt framed oil on canvas still life of flowers by Pedro Antonio Saorin Bosch, approx 67cm x 76cm.

Bernard Buffet, colour print, Still life with Backgammon board and lamp, 27 x 20cm

E. Vintats, oil on board, Still life of chrysanthemums in a blue vase, indistinctly signed and dated '86, 90 x 65cm

PAINTINGS AND PRINTS, to include an abstract study of a tree by Phyllida Scott watercolour/Gouache on paper with still life flower study by the same hand, abstract oils on canvas from Rachel Jack, Terence Cuneo prints 'Night King' Bently v blue train and express engines at Tyseley, David Shepherd print 'Slave Island Aden', indistinctly signed still life oil on canvas of flowers, Malcolm Doughty oil on canvas of an Alsatian Dog together with assorted painting and prints, largest 74cm x 95cm including frame

CONTINENTAL SCHOOL, STILL LIFE WITH FRUIT digital print with hand embellishments 54cm x 45cm Framed

* ALAN KEMP (SCOTTISH b 1937), STILL LIFE watercolour on paper, signed 50cm x 57cm Mounted, framed and under glass

* ELLEN MACLOLM RSA (SCOTTISH b 1923), TABLE TOP STILL LIFE oil on canvas, signed 35cm x 40cm Framed

* LILY M M MCDOUGALL (SCOTTISH 1875 - 1958), FLOWERS IN A BLUE VASE watercolour on paper, signed 52cm x 35cm Mounted, framed and under glass. Label verso: Aitken Dott and Co (The Scottish Gallery), 26 Castle Street, Edinburgh. Note: Born in Glasgow in 1875, Lily Martha Maud McDougall studied in Edinburgh and Antwerp, and later lived in Paris from 1900-4. She exhibited with the Society of Scottish Artists, as one of the first women to be permitted entry, and at the Glasgow Institute. She was best known for her still-life and flower studies in oil and watercolour. Ten of her paintings are held in Scottish public collections including Glasgow Museums, Gracefield, The Royal Scottish Academy, The City Art Centre (Edinburgh), Kirkcaldy Galleries and Aberdeen Art Gallery & Museums.

MID 20th CENTURY SPANISH SCHOOL 'Still Life of Flowers', oil on canvas, signed lower left M.L. Ibánez', 58cm x 72cm.

An Arts & Crafts brass charger depicting a rare still life scene of a bowl of fruit. Circa 1901 (d 49cm)

Kaffe Fassett, print, Still Life with Jugs, signed and dated in pen, 2005 lower right (72mc x 60cm excluding frame)

Elizabeth Balmainda, Still Life, oil on panel, paper label verso (49cm x 38cm excluding frame)

Freshly restored to '100-point'concours standard1973 Ferrari Dino 246 GTS CoupéCoachwork by Pininfarina/ScagliettiRegistration no. UAX 1Chassis no. 07362•One of only 498 right-hand drive UK cars•'Chairs & Flairs' model (see text)•Restored between 2017-2020•Outstanding condition•Valuable registration included Footnotes:The quite exceptional Dino 246 GT offered here comes from the private collection of a UK-based dedicated Dino enthusiast who has owned and restored some 30 of these charismatic cars over the years. Not your typical 'in-house' restorer, the vendor is the owner of an engineering company supplying machinery to the food manufacturing industry, and employs a small team of engineers who work exclusively in his Dino restoration workshop. It should be noted that it was never the intention that these cars would be sold: they were for the vendor's own collection so built without any time limits or compromise.It was the need for a production-based engine for the new Formula 2 that had prompted the introduction of a 'junior' Ferrari, the Dino 206 GT, at the Turin Motor Show in 1967. The latest in a line of Dino V6 'quad-cam' engines stretching back to the late 1950s, the new unit proved as successful on the racetrack as in the showroom, Derek Bell and Ernesto Brambilla both winning races in the European Championship, while Andrea de Adamich triumphed in the 1968 Argentine Temporada series. Building on experienced gained with its successful limited edition Dino 206S sports-racer of 1966, Ferrari retained the racer's mid-engined layout for the road car but installed the power unit transversely rather than longitudinally. A compact, aluminium-bodied coupé of striking appearance, the Pininfarina-styled Dino - named after Enzo Ferrari's late son Alfredino Ferrari and intended as the first of a separate but related marque - was powered by a 2.0-litre, four-cam V6 driving via an in-unit five-speed transaxle. The motor's 180 brake horsepower was good enough to propel the lightweight, aerodynamically-efficient Dino to 142mph, and while there were few complaints about the car's performance, the high cost enforced by its aluminium construction hindered sales. A 2.4-litre version on a longer wheelbase - the 246 GT - replaced the original Dino 206 in late 1969. Built by Scaglietti, the body was now steel and the cylinder block cast-iron rather than aluminium, but the bigger engine's increased power - 195bhp at 7,600rpm - adequately compensated for the weight gain. A Targa-top version, the 246 GTS, followed in 1972. The Dino 246 was built in three series: 'L', 'M', and 'E' respectively, these designations reflecting detail changes in the specification. While not quite as fast in a straight line as its larger V12-engined stablemates, the nimble Dino is capable of showing almost anything a clean pair of heels over twisty going. Truly a driver's car par excellence, it is still highly regarded today. Every Ferrari collection should have one. A late example (production ceased in 1974), chassis number '07362' is one of 498 right-hand drive 246 GTs built for the UK market and one of only a relative handful to have the 'Daytona' seats. The Dino was purchased in December 2000 from the estate of BRDC member the late Mike Cornwell (its owner since 1975), whose club badge comes with the car. A successful rally competitor, Mike Cornwell competed on the 1991 Classic Marathon, winning an Alpine Cup, and ran as a team-mate to Sir Stirling Moss and Rosemary Smith. He repeated that event in 1992 and also took a class win on the 1993 Tulip rally before entering two Monte Carlo Challenges, taking class wins in successive years. Mike Cornwell had the Dino converted to 'Flairs' (flaired wheelarches) soon after he bought the car in the 1970s, so in the interests of keeping true to its history it was decided to retain those during restoration as they had been on the car for the best part of its life.Typically, the owner's meticulous Dino restorations take some three years and 5,000 man-hours to complete, and this one's was carried out between 2017 and 2020. These cars are restored on a rotisserie buck to ensure that everything is correct, with 75% of the car assembled upside down so that the underneath is as good as the top. Indeed, the cars are rebuilt to better-than-factory standard; the steel used for bodywork reconstruction being vastly superior to that employed by Ferrari in period. Every rusted tube in the chassis was replaced on the jig and every cavity Waxoyled, while every rivet in the floor pan was measured to be exactly the same on both sides. Factory items being no longer available, the clips securing the rubber seal on the wheelarch mud protectors had to be produced specially. It is also worthwhile noting that the wheels are original lightweight Campagnolo sand-cast magnesium and not the aluminium replicas as seen on most cars; they are new-old-stock Ferrari hence the rough casting marks, which were left exactly as they would have been when the car was new. All the leather interior trim was supplied by Lupi in Italy, makers of the original Ferrari trim, and consists of the finest quality hides. The car spent three months in the paint shop getting every gap, panel, and line perfect, which shows by the way the doors open and close, just touching the seal. An examination of the headlight covers reveals that they too fit the body perfectly: the result of some two weeks spent shaping the covers and body lines, and then re-polishing the Perspex, etc. The engine is fully rebuilt and balanced with Cosworth high-compression pistons, and has only been run and tuned on the test-bed.Being an in-house restoration, there are no bills available, but each car comes with an album containing hundreds of photographs recording the process in full, while the history file also contains a current V5C document and numerous invoices accumulated prior to the vendor's purchase. In short: this car has been rebuilt to world-class '100-point' concours standard and is one of the very best that Bonhams has ever seen. For further information on this lot please visit Bonhams.com

1939 Bentley 4¼-Litre Vanden Plas-style TourerCoachwork by James E PearceRegistration no. FYU 313Chassis no. B-137-MX•The ultimate expression of pre-war motoring refinement•Replica Vanden Plas-style body•Desirable M-series overdrive model•Original engine, gearbox, and registration•Comprehensive history fileFootnotes:Introduced in 1936, the 4¼-Litre Bentley chassis, developed from the preceding 3½-Litre, was the finest that the wealthy sporting motorist could aspire to. Although Rolls-Royce's acquisition of Bentley Motors in 1931 had robbed the latter of its independence, it did at least ensure the survival of the Bentley name. Launched in 1933, the first of what would become known as the 'Derby' Bentleys continued the marque's sporting associations, but in a manner even more refined than before. Even W O Bentley himself acknowledged that the 3½-Litre model was the finest ever to bear his name. Based on the contemporary Rolls-Royce 20/25, the 3½-Litre Bentley was slightly shorter in the wheelbase at 10' 6' and employed a tuned (115bhp), twin-SU-carburettor version of the former's 3,669cc overhead-valve six-cylinder engine. Add to this already remarkable package a part-synchromesh four-speed gearbox and servo assisted brakes, and the result was a vehicle offering the driver effortless high performance in almost absolute silence. 'The Silent Sports Car', as it was quickly dubbed, had few peers as a tireless long-distance tourer, combining as it did traditional Rolls-Royce refinement with Bentley performance and handling. By the end of the 1930s the 'Derby' Bentley had undergone a number of significant developments, not the least of which was an increase in bore size in 1936 that upped the capacity to 4,257cc, a move that coincided with the adoption of superior Hall's Metal bearings. This new engine was shared with the equivalent Rolls-Royce - the 25/30hp - and as had been the case with the preceding 3½-Litre model, enjoyed a superior specification in Bentley form, boasting twin SU carburettors, raised compression ratio, and a more 'sporting' camshaft. Thus the new 4¼-Litre model offered more power than before while retaining the well-proven chassis with its faultless gear-change, and servo-assisted braking. Land speed record holder Sir Malcolm Campbell appreciated its formidable performance, praising the 'absolute perfection' of the Bentley's engine, handling, and braking. It was the construction of modern highways in Continental Europe, enabling cars to travel at sustained high speeds, that had prompted the introduction of the Hall's Metal bearings and would lead eventually to the adoption of on an overdrive gearbox and improved lubrication system on Bentley's peerless Grande Routière. These and other improvements, most notably the adoption of Marles cam-and-roller steering in place of the Rolls-Royce worm-and-nut, coincided with the introduction of the 'M' series cars in 1939. Refinement, reliability, and effortless long-distance cruising (3,000 revs equates to 78mph) were hallmarks of the coveted overdrive-equipped 'M' series. Only some 200-or-so were produced during 1939 and all are most highly regarded today.With its 4¼-litre engine and overdrive gearbox, 'B-137-MX' represents the Derby Bentley in its ultimate and most desirable incarnation. This car was originally bodied by Park Ward as a four-door sports saloon and was delivered new in September 1939 to Alan Samuel Butler, Chairman of the de Havilland Aircraft Co Ltd. The Bentley was registered as 'FYU 313'. Exported to the USA in 1952, returning in 1989, the car was owned for many years by the Ingham family of Surrey, who used it for many Continental tours, one of which was the Around the World in Eighty Days Rally in 2000! 'FYU 313' had been campaigned hard throughout its life and continued in use well into its seventh decade. It was then that the family decided to strip the car and give it a new lease of life, and renowned specialist James E Pearce was chosen to ensure that the quality of the rebuild would stand the test of time. Work commenced in 2007. It was decided to re-body the car as a Vanden Plas-style tourer, and an original VdP tourer body was used as the buck. James E Pearce's invoices for the restoration are on file together with those issued by various other specialists for works carried out both before and after. Some ten years later the result still looks wonderful; indeed, the quality of the workmanship has often been recognised, as evidenced by various R-REC and BDC concours rosettes. The Bentley has also been chosen for display by the RAC at their Hampton Court Concours twice, and also for display within the Rotunda in their Pall Mall Clubhouse. Last serviced in July 2019, the car comes with a comprehensive history file containing copy chassis cards; old/current V5C registration documents; a quantity of expired MoTs and tax discs; a list of previous UK owners; and the aforementioned bills and rosettes. Not only is this VdP-style tourer undeniably attractive, it is said to drive sublimely too, starting on the button and running perfectly. As a late M-series example, it affords the benefits of overdrive and 'soft' steering, making it relaxed on the motorway and more manageable in town. Retaining its original registration number, engine, and gearbox, this fabulous Derby Bentley is not to be missed.For further information on this lot please visit Bonhams.com

1935 Rolls-Royce 20/25 Open TourerRegistration no. KS 8969Chassis no. GBJ38Engine no. 524H•Originally a Hooper limousine•Open tourer body designed by Osmond Rivers of Hooper & Co•Restored and re-bodied in the mid/late 1960s•Single family ownership from 1966 to 2018 Footnotes:First registered on 1st November 1935, this Rolls-Royce 20/25 was purchased by previous owner Sydney Creamer, of the eponymous Kensington-based Jaguar agency, from Mr D J Petty of the Manor House, Welwyn, Hertfordshire on 25th April 1966 for the sum of £175. Writing in June 2002 (document on file) he related: 'It was then fitted with its original and very heavy Hooper limousine body. The purchase was fortunate because of the quality of the fittings in the body, such as the door furniture, radiator, headlamps, etc, all of which could be used to benefit the restoration of the car. 'I was introduced to Mr Osmond Rivers, who had started life as an apprentice at Hooper Motor Bodies Ltd and during the course of his career had risen to be Managing Director and Chief Designer for the company. I knew the style of the body I had in mind and made some sketches and proposed them to Mr Rivers. He offered to design a body for me of the style I had described, providing I allowed him to see through the making of the body. 'Osmond Rivers examined the limousine body... and advised me to dispose of the main part of the body but retain the base or platform. This was in good order and of course it fitted the chassis perfectly and would form the basis of the new coachwork. I finished the restoration of the chassis and the body was duly built by me under the direction of Mr Rivers. The only difficulty encountered was at the end when it came to adjusting brakes and the carburettor. These were carried out by the Rolls-Royce Service Department at Hyde Road on instructions of Mr Ron Heynes, who advised swift action as the only person left in his department capable of accurately adjusting the brakes was retiring at the end of the month. At the same time, they attended to the carburettor. 'Amongst all the bills that I have today is that of Mr Rivers for designing the body... and seeing me through the making of it. The sum? 25 guineas, or £26. When the car was finished I gave it to my wife Joan as a wedding anniversary present. She still owns it and I am the unpaid chauffeur.'The current vendor inherited the Rolls-Royce from Mrs Joan Creamer upon her death in 2018. Although starting 'on the button', the car has seen little use in recent years and the vendor advises that it may require some light re-commissioning before regular use. Correspondence between Messrs Creamer and Osmond Rivers is on file together with a selection of photographs, an old-style continuation logbook, and a current V5C Registration Certificate. For further information on this lot please visit Bonhams.com

Offered from the estate of the late Michael Patrick Aiken, MBE1939 Lagonda V12 Drophead CoupéCoachwork by LagondaRegistration no. 324 XUJChassis no. 14069*One of only 189 V12s built*Known ownership history*Restored in the USA in the 1990s*Present ownership since 2007*Professionally maintained with no expense spared*Class winner at Pebble Beach in 1997Footnotes:'In making an evaluation of the better British cars, the Lagonda V12 certainly must be considered an excellent design and one that contributed to raising the state of the art - not forgetting, of course, that it probably should be considered W O Bentley's masterpiece.' - Road & Track, October 1978. A quite remarkable piece of automotive engineering, the W O Bentley-designed Lagonda V12 was one of the outstanding British models of its day and one of the exclusive handful of 1930s road cars that could exceed 100mph in standard tune. Not only that, but the magnificent, 4½-litre, V12 engine produced sufficient torque to endow the car with a walking-pace-to-maximum capability in top gear. Approximately 185 V12s of all types were built before the coming of WW2 prematurely ended production.For Lagonda, the year 1935 had brought with it bankruptcy and rescue, its benefactor being a young solicitor named Alan Good. Good reorganised the company and recruited W O Bentley, by then disillusioned with life at Rolls-Royce, which had acquired Bentley in 1931. Bentley succeeded in refining the muscular, Meadows-engined Lagondas while working on a vastly more-advanced design that many consider the great man's finest.First seen in 1936, the Lagonda V12 did not commence deliveries until 1938 and only 189 had been built before the coming of WW2 ended production. The advanced chassis employed double-wishbone independent front suspension and was available with a varied choice of coachwork, including limousine. Frank Feeley, stylist of Aston Martin's post-war 'DB' cars, was responsible for the elegant factory bodywork. As usual, the short-chassis Rapide roadster provided even more performance.The V12's announcement demonstrated that the revitalised company was very much back in business, an impression Lagonda's decision to enter the 1939 Le Mans 24-Hour Race can only have enhanced. The marque already possessed a creditable Le Mans record, a short-chassis 4½-Litre driven by John Hindmarsh and Luis Fontes having won the endurance classic outright in 1935. In October 1938, Earl Howe had set a new national record by covering 101.5 miles at Brooklands in a single hour, despite having to stop to change a burst tyre.This magnificent achievement, together with other high-speed tests during which the Lagonda V12 had shown complete reliability, indicated that it would be a highly suitable candidate for reviving British prestige at Le Mans. Accordingly, it was decided to enter a two-car team in 1939 with the aim of securing valuable data, and then to mount a full-strength challenge the following year. In the race the two streamlined two-seater Lagondas fared better than expected, Messrs Brackenbury and Dobson finishing in third place with Lords Selsdon and Waleran fourth. Had a less conservative race strategy been employed, then either might have won. By the time the outbreak of war halted production, only 189 of the fabulous cars had been produced; sadly, the V12 was not revived when peace returned.A wonderful example, chassis number '14069' is fitted with the factory's Frank Feeley-designed drophead coupé coachwork, and according to the Lagonda Club was first registered on 31st March 1939. The first owner's name is illegible but the records show that this short-chassis car was supplied finished in jewelescent grey with red leather interior and burr walnut woodwork. The supplying agent was University Motors in London and the Lagonda was first registered as 'MG 6448', a Middlesex mark.The second owner, immediately after WW2, was Eric B Fox of the Fox's Glacier Mints company based in Leicester. Immediately prior to his ownership the Lagonda had been used by the manufacturer in its advertising, appearing in a Lagonda factory magazine, Photo World, dated April 1945 and in an Autocar magazine advertisement in May of that year. These advertisements were captioned thus: 'In Due Course: A new, less expensive and smaller LAGONDA will carry the name into markets hitherto unacquainted with all LAGONDA has signified to discerning motorists for over 40 years'. Why Lagonda chose to use the far from cheap V12 to promote a forthcoming smaller and less expensive model is a mystery.'MG 6448' was last serviced at the factory in 1947 while still in Mr Fox's ownership. The next record is dated 1960 when the car is recorded with one R Nicholson in Kent and a few years later with W G V Hall in Southwest London. Subsequently the Lagonda was exported to the USA, and in 1968 was owned by famous collector Jack Nethercutt. In 1987 Mr Nethercutt sold it to another respected and discerning collector, General William Lyon. The Lagonda was next owned by Pebble Beach Concours Judge, Mark Tuttle, passing in 1993 to William Roberts of Bainbridge Island, Washington State. The latter then commissioned an extensive restoration, with the paint and bodywork entrusted to recognised specialist Walter Johnson of Bainbridge Island, a craftsman with numerous Pebble Beach concours winners to his credit.The engine was fitted with new Jahns pistons, Carrillo con-rods, and Crower camshafts with a modern profile, while the internals were updated for improved performance and reliability. An enthusiastic owner/driver, the then owner made every effort to keep the Lagonda as original in appearance as possible, the only non-original items visible being the dipstick and separate reservoir for the Bijur lubrication system.The interior was re-trimmed throughout with finest American leather, colour matched to the coachwork, while the wood was re-veneered to original specification by a master violin maker, and a new high-quality soft-top made. All the considerable work and expense was rewarded when the Lagonda was awarded 1st Prize in the Open European Classic class at the Pebble Beach Concours d'Elegance in 1997.Since deceased, the present owner, Michael Patrick Aiken MBE, purchased the car in 2007 at the Amelia Island auction. A successful businessman who achieved boardroom-level appointments in the brewing and shipping industries, Michael Aiken was CEO and owner of Wightlink Ferries, and received his MBE in 2013 for services to National Heritage. In his hands since its acquisition in 2007, the Lagonda has been meticulously maintained by recognised specialists including Blakeney Motorsport, Harwoods, BishopGray, etc).W O Bentley's Lagonda V12 is one of the most sophisticated, attractive, and exclusive cars of the pre-war era and this fine example, with its well-chronicled provenance, is an opportunity not to be missed.For further information on this lot please visit Bonhams.com

1936 Lagonda LG45 Sports TourerCoachwork by LagondaRegistration no. CXT 392Chassis no. 12087*One of an estimated 21 survivors of fewer than 40 made*Known ownership history*Part of the Lancashire Constabulary vehicle fleet for 66 years*Restored in the mid-1980sFootnotes:Constructed in Staines under Lagonda's new owner Alan Good and his Technical Director W O Bentley, this LG45 tourer has the same 'DNA' as Fox & Nichols' Le Mans-winning team car of 1935. Indeed, '12087' incorporates many improvements from that winning car that had resulted directly from input by 'W O' and his Chief Engineer, Mr Willy Watson, who had joined Lagonda in August 1935. It is fitted with Meadows' robust 4½-litre six-cylinder overhead-valve engine (number 'LG45/215/S1'). Benefiting from much improvement by Messrs Bentley and Watson, this 'Sanction 1' unit has twin-plug ignition fired by two magnetos (Scintilla as primary and Vertex as supplementary) and twin SU HSV4 carburettors. The gearbox is a Meadows G9 with synchromesh on 3rd and 4th gears, fitted with a right-hand gear selector. Finished in dark grey with maroon interior, the open tourer coachwork was designed and produced in-house by Lagonda's Frank Feeley, considered by many to be the finest British designer of his day.'12087' was delivered on 8th May 1936, and a copy of original build sheet comes with the car. Lagonda's customer was the dealership Kevill-Davies & March of Berkeley Street, London W1 for a Mr Malfatti. The factory service card records a road test dated 13th December 1937 showing a mileage of 28,440. It is assumed that this is when the Lagonda was acquired by Lord Cottenham, who then donated it to the newly established Police Driving School in Hutton, Lancashire. Lord Cottenham's donation had resulted from a move to improve driving standards, initiated by the then Prime Minister Sir Stanley Baldwin, who had turned to racing driver and friend of Lord Cottenham, Sir Malcolm Campbell, for assistance with the project. Lord Cottenham purchased three Lagondas for allocation to the newly formed Police Driving Schools. This car is the only known survivor of those three. It was quickly recognised as being far too prestigious a vehicle to be used at 'PC' level, and it is rumoured that the Lagonda was commandeered by subsequent Chief Constables for their 'official duties'. One of the highlights of the Lagonda's 66 years with Lancashire Constabulary occurred in the late 1980s when it used at the Glasgow Police Tattoo to carry HRH Princess Anne (The Princess Royal) to and from the opening ceremony. Video footage of this event still exists.For many decades, '12087' led a cosseted life in the care of the Lancashire Constabulary vehicle maintenance team. By the early 1980s, the cellulose paint had been all but polished to the primer undercoat, and it was decided that the engine would benefit from an overhaul. It is believed that the car had covered only some 90,000 miles by that time. The accompanying history file contains photographs and correspondence with the current owner from the Police mechanics who looked after the Lagonda from the 1960s until 2003. These same mechanics carried out the no-expense-spared two-year restoration, and the aforementioned correspondence shows that this car was much loved by the men whose responsibility it was to take care of it. In 2003, Lancashire Constabulary sent the Lagonda to auction where it was purchased by its next owner, Mr Alan Lloyd, a knowledgeable collector of prestige motor cars and a long-time member of the Lagonda Club. He used the LG45 sparingly, favouring his Bentleys and Rolls-Royces, and laid it up around 2006/2007 in his warm, carpeted garage. Via a Lagonda Club introduction, the current owner acquired '12087' from Alan Lloyd in 2019 as a non-runner in need of re-commissioning.During the current ownership, the Lagonda has been completely overhauled and returned to the magnificent condition in which it is today. A new high-quality hood, hood bag, and tonneau cover have been fitted also. We are advised by the vendor that the car starts 'on the button' and runs smoothly and quietly with excellent oil pressure; indeed, the owner is confident he could 'drive her to Moscow and back' without issue. He has used the Lagonda frequently and taken it on several long-distance outings including motorway driving (cruising comfortably at 60-70mph) and busy 'A' roads in traffic. It is said to behave impeccably on twisty 'B' roads, with perfect gear ratios for all driving conditions.It is estimated that fewer than 40 examples of this car/body-type were produced, and as far as can be established (by one of the Lagonda Club's historians), only 21 remain today. This is an original, matching numbers car, and is presented as per the original build sheet. The only known modification is the adoption of Lucas P80 headlamps in place of the original Lucas P100s, it being considered that these slightly smaller headlamps are much better suited to this refined, four-seat sports tourer. A period Klaxon horn is fitted, supplementing the original twin Windtone horns, while the original trafficators are in full working order and operate in conjunction with new and tasteful Minicators, better suited to today's driving conditions. An exceptional example with a fascinating history, this rare and desirable Lagonda LG45 Tourer is an important and much admired motor car, worthy of inclusion in any prestigious private collection.For further information on this lot please visit Bonhams.com

John Tunnard ARA (1900-1971) Still life of flowers in a jug with a wheelback chair Indistinctly signed and dated (19)35, mixed media, 47cm by 36.5cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

Alexander Jamieson (1873-1937) Scottish Still life with Tulips Signed, oil on canvas, 72.5cm by 52.5cm Provenance: Louise Kosman, Edinburgh See illustration

Philip Naviasky (1873-1983) Still life of Poppies with figurine Signed, oil on canvas, 29cm by 34cm Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business

Donald Manson (b.1948) Scottish ''Still life with Checked Cloth'' Signed, oil on board, 120cm by 63cm Provenance: The Fine Art Society, London Artist's Resale Rights/Droit de Suite may apply to this lot, please refer to our Terms of Business See illustration

4 picture portfolios by H E Foster - Animals, still life, nude studies and 1940's film stars

Still life by local artist Peter Kotka (Approx image size W: 24cm x H: 19cm)

Quantity of Pictures, To include a Watercolour of "Elter Water" "Still Life of Flowers" Oil on Panel, Plan of Liverpool Racecourse, Spy Prints etc, Approximately 17 in total

DORCIE SYKES (1908-1998) British, Still Life of Flowers, watercolour, framed and glazed. 49 x 53 cm.

Two framed watercolours of Venice, together with a Floral Still Life. The latter 31.5 x 45 cm.

DUTCH SCHOOL, Still Life, oil on canvas, indistinctly signed, framed and glazed. 61 x 52 cm.

LAMONT, Still Life

Still Life of Flowers, oil, signed R K SILVEIRA and dated '83, framed.

H Hollond-Hulke, Castle Rock, Lynton, signed watercolour, 30 x 44cm, together with two still life oils, a limited edition print of spaniels and a collection of 19th century and later pictures and prints

French School, mid 20th century, still life of flowers, 38 x 48cm

Sidney JB Heary, a still life of lilies and fuchsias, signed and dated 93, oil on canvas, 36 x 25cm

Graham Sutherland mid 20th century coloured modernist still life print signed in pencil Redfern Gallery Ltd label verso with information on artist and purchaser.