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Edward Williams (British, 20th Century), a still life with a bust of Voltaire and an open book, signed l.l., oil on canvas, 51 by 76cm, gilt frame 

Manner of Johannes Borman, still life of peaches and a shell on a draped table, oil on panel, 35 by 30cm, framed 

Pierre Lafitte (French, 20th Century), still life of a bowl of roses, signed l.l., oil on canvas 51 by 41cm, framed

British School, 20th Century, still life with a vase of pink roses, oil on canvas, 68 by 50cm, gilt frame 

English School in the style of Benjamin Blake, mid 19th Century, a still life study of game, including game birds and a hare, oil on canvas,60 by 50cm, in a gilt frame  

Oliver Clare (British,1853-1927), still life study of apples, grapes and strawberries, signed lower right, oil on board, 14 by 26cm, gilt frameProvenance: originally belonged to Miss Seymour, a jeweller in Birmingham who drank in the pub with Oliver Clare. He gave her this painting, it came to the family through the vendor's mother, who used to care for Miss Seymour. 

CINEMA, posters, inc. Asya's Happiness (1987), Andrei Konchalovsky (Quad); Breakheart Pass (1975), Charles Bronson (Quad); Doctor in Distress (1963), Dirk Bogarde (Quad, cross fold holes); Eat a Bowl of Tea (1989), Wayne Wang (Quad); French Connection II (1975), Gene Hackman (US 1-Sheet); High Tide at Noon (1957), Patrick Mcgoohan (UK 1-Sheet); Johnny Suede (1991), Brad Pitt (UK); Life is a Bed of Roses (1983), Alain Resnais (Quad); Mandingo (1975), James Mason (Quad); Johnny Nobody (1961), Nigel Patrick (UK 3-Sheet); Pinocchio (1978 re-release), Walt Disney (US 1-Sheet, slight cross fold wear); Scandal (1989), Joanne Whalley (Quad); Still of the Night (1982), Meryl Streep (Quad); Total Eclipse (1997), Leonardo Di Caprio (Quad); Where the Green Ants Dream (1984), Werner Herzog (Quad), folded, G to VG, 15

A Lynton porcelain circular table box, painted by Stefan Nowacki, monogrammed, with a still life of pears, grapes and a melon on a ledge, within a raised beaded border, the green ground with a gilt garland of oak leaves, conforming base, chased gilt-metal mounts and shell thumbpiece, 6.5cm diam, 4cm high, gold printed marks

A FRAMED OIL ON BOARD STILL LIFE STUDY OF FRUIT INDISTINCTLY SIGNED LOWER LEFT AND INSCRIBED VERSO

Follower of William Michael Harnett (American, 1848-1892), Still life of a pipe and other items on a table, oil on copper, 20 x 25.5cm, unframed.

Charles Samuel Keene (British, 1823-1891), Still life of a fish and a crab: and another, a pair, each signed 'C Keene' (lower right), oil on canvas, each 29 x 44cm (2).

European School, 20th Century, Still life of fruit and a monkey; and a companion of fruit and a rabbit; a pair, oil on board, 52 x 44.5cm (2).

English School, late 19th/early 20th century, Still life of white roses, indistinctly signed, oil on canvas, 40 x 55cm.

J. R. Le Blan (Flemish, 18th Century), Still life of a thistle, a snake, a lizard, butterflies, a caterpillar and other insects, with a landscape beyond, signed and dated 'J R Le Blan 1720' (lower right), oil on panel, 39cm x 31cm.Illustrated

B. I. Edward (British, 20th Century), Still life of pink flowers, signed 'B I Edward' (lower right), oil on board, 17 x 24.5cm.

Marion Broom (British, 1878-1962), Still life of flower, signed 'Marion Broom' (lower left), watercolour and gouache, 36 x 55cm. May be subject to ARR

Leonard Manasseh (British, 1916-2017), Still life of a poppy in a jug, initialled and dated 'L M 53' (lower right), oil on board, 15.5 x 12cm, together with an unfinished oil on canvas of a woman lying on her front, attributed to Leonard Manasseh, 41 x 50cm, unframed (2). May be subject to ARR

Leonard Manasseh (British, 1916-2017), Still life of fruit in a bowl, initialled and dated 'L M 69' (lower right), oil on canvas, 30 x 41cm, unframed. May be subject to ARR

A Victorian papier-mâché panel, well painted with a still life of flowers and a butterfly with clouds, 35.8 x 25, in a gilt and composition moulded frame.

Joan Peet (20thC School). Still life, pears, plate and flowers, oil on board, signed, 30cm x 40cm, and three other various oil on artist board, landscape forest scene and still life, unsigned. (4)

Modern British school, still life study of vase of flowers, signed, oils on panel. Indistinctly signed. 29 x 30cm approx, framed. (B.P. 24% incl. VAT)

Martin Whatson (Norwegian b.1984), ‘Still Life 1’, 2016, hand finished archival pigment print in colours, signed, dated and numbered from an edition of 75 in pencil, published by Graffiti Prints; sheet: 73.5 x 56.5cm ARR

Jonas Wood (American b.1977), ‘Large Shelf Still Life Poster’, 2017, offset lithograph in colours on wove paper; published by Voorlinden Museum; sheet 59.5 x 59.5cm

Continental school, oil on canvas still life, 53 cm x 59 cm

Royal diploma of King Enrique II of Castile, for a Don Sancho concerning rights in Aranda de Duero, vast single sheet manuscript document in Old Castilian on parchment [Spain (Castile, Leon), 1369-79] Single large sheet, with 60 long lines of main text above a witness-list and scribal endorsement, penwork cadels to letters in uppermost line, significant names in red or blue capitals or left in blank parchment within red or blue grounds, opening initial in red with swirling penwork, a Chi-Rho symbol in red within a blue and red roundel set within blue and red frame, the royal seal of Castile within circular text frames in blue and red painted into text between columns of witnesses, parchment turned up at foot and document intentionally pierced through this turn up and the pen flourishes of the scribal endorsement to attach twisted silken cords of blue, red, white, yellow and green, these holding in place a lead seal with the arms of Castile on one side and a seated king on the other (rubbed, but in fair condition with main details and text still discernible), several early modern endorsements on reverse, some rubbed areas of text and cockled areas of parchment (but without significant loss to text other than second part of dating year), folds from storage, overall good condition, 715+50 by 610mm. Enrique II (1334-79) is styled here as ruler of “Castiella, de tolledo, de Leon, de Gallista, de Sevilla, de Cordoba, de Murcia, de iah’en [Jaén], de algarbe, de algesiin”, and elsewhere nicknamed ‘el Fratricida’ as he killed his half-brother, Pedro ‘the Cruel’ (probably necessarily in order to protect his own safety). This act placed him on the throne as the first king of Castile and Leon from the house of Trastámara. He lead a belligerent life, going to war against Ferdinand I of Portugal and his son in law, John of Gaunt, 1st Duke of Lancaster, before returning to the same conflict during the Hundred Years’ War in which he fought both the Portuguese and the English. He died in 1379 and was buried in the Capilla de los Reyes Nuevos in Toledo. This is a grand royal document, most probably intended to impress upon its viewer the majesty of the house of Trastámata, and draw attention away from the fratricidal origins of Enrique’s power (on his use of charters thus, see M.R. Obrado, ‘Simbología y propaganda política en los formularios cancillerescos de Enrique II de Castilla’, En la España medieval, 18, 1995). To that end a uniquely medieval Spanish diplomatic practise is employed here to its fullest: that of painting the royal seal into the centre of the document. Here it is placed between the columns of noble witnesses, mostly drawn from Enrique’s family, his innermost courtiers and young sons of subjugate rulers he had taken into his court as hostages, reminding the viewer of the centrality of his authority. Examples of such charters survive almost entirely in institutional ownership, and rarely appear on the market. Another issued by Pedro I in 1351 was offered by Les Enlumineres, catalogue 4 (1995), no. 32.

ƟLarge fragment of a leaf from Hildegard of Bingen, Explanatio Symboli Sancti Athanasii, an explanation of the Athanasian Creed, in Latin, decorated manuscript on parchment, in situ on the binding of a sixteenth-century printed book [Germany (perhaps Rupertsberg or Eibingen), late thirteenth or early fourteenth century] Lower half of a leaf, reused on a sixteenth-century binding, with remains of double column of 18 lines in a good and spiky Germanic early gothic bookhand, using ‘w’ in place of ‘v’ in words such as “ewangelium”, capitals touched in red, remains of a marginalia set within an angular frame obscured within turn-ups of ‘back board’, the leaf arranged on the sixteenth-century book as a limp parchment binding with edges folded in, with a column of manuscript text visible in the centre of each board, text obscured around spine of later book and damaged by small holes there, text on outer surfaces of later binding scrubbed clean, spots, stains and small holes, else fair and legible condition, overall: 190 by 295mm. This is a hitherto unrecorded and completely unstudied fragment of this work by perhaps the most important female mystic of the Middle Ages; one of only three or four manuscripts of the work to survive Provenance: From a codex perhaps produced within the monastery of Rupertsberg (founded 1147) or Eibingen (founded 1165), both of which were founded by the author. The text was addressed to the nuns of Rupertsberg, and appears to have had an extremely limited distribution, perhaps not extending outside these two houses (see below). Rupertsberg was closed and its goods transferred to Eibingen in 1632, and both communities were suppressed together in 1803. However, the present fragment had already been reused on a binding of a book that had travelled to Italy by some point in the seventeenth century when it received its first ex libris inscriptions, and the parent manuscript may have been a volume reused for binding material in Rupertsberg itself, and discarded in its present state when they combined with Eibingen in 1632. If it was copied in one of these two communities, then the scribe is most likely to have been a woman, and may well have already been a young inmate of the community while the author was still alive. Text: Few authors in the Middle Ages were women, and even fewer were in a position that enabled them to reach the heights of their intellectual world. Thankfully, Hildegard of Bingen (c. 1098-1179) was in such a position. From a young age she experienced visions and entered the monastery of Disibodenberg as a child oblate. In 1136 she was unanimously elected magistra of the community by its members, and set about moving the nuns of the house to Rupertsberg where they would have greater independence. In 1165 she founded a further house from these nuns at Eibingen. At the age of 42 she received a profound vision instructing her ‘to write down that which you see and hear’, and she entered into the life of an author. She was beatified in 1326. The present text is an explanation of the Athanasian Creed composed for the inmates of her own female monastic community at Rupertsberg. It was written in the 1170s in a period of frenzied writing as she entered her seventies and the community feared they might soon lose her. The fragment here contains the parts of the opening of the text, touching on the Creation of the sun, moon and stars, the world and the creatures on it: from “sicut etiam in creatione die …” (in a slightly variant form to the edited text) to “… qui totam Ecclesiam sustentarent. Deinde”, reopening in the second column with “divinitate, et non in persona …” to “… divisio est nisi distinc[tio]”. This allows us to calculate that slightly less than 50 lines are missing from the top of the leaf, giving us a large page layout of approximately 390 by 260mm. total page size (and probable written space of 250 by 180mm.), in keeping with the large margins surviving here. The emergence of this fragment brings the number of recorded witnesses to the text to a total of three or four, with the others: (i) the Rupertsberger Riesenkodex, now Wiesbaden, Hessische Landesbibliothek, Hs 2, dating to the 1180s and thus to the months or years after the author’s death; and (ii) its immediate descendent and direct copy, Vienna, Hofbibliothek, cod. 721, of the thirteenth century. The manuscripta.au website also reports another copy, apparently previously overlooked in a thirteenth-century collection of the author’s letters in ÖNB, cod. 881. The readings of the present fragment have not been compared with the other known witnesses and remain completely unstudied and unpublished. Any text by Hildegard of Bingen in manuscript is of near-legendary rarity on the market, and the last codex to appear was a fifteenth-century one containing De Avibus et Animalibus, sold in Sotheby’s, 25 March 1923, lot 99. We know of no other fragment to have appeared for sale. Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

Ɵ The Prayerbook of Jørgen Quitzow, in Renaissance Danish and German, illuminated manuscript on parchment, with near-contemporary additions on paper [Denmark (perhaps the Lutheran Chapter for Noble Ladies at Maribo, Lolland, or just perhaps central Fyn), dated 1570] 80 leaves, the main section (48 leaves) on vellum, complete, collation: i-xi4, approximately 16 lines of an angular calligraphic hand with numerous pen cadels and flourishes set in a near-square single column framed at edges by double orange-red and pale green lines, rubrics in red, sections opening with larger ornate letters and ending with calligraphic interlace ‘penwork knots’, double-page opening at front with coloured and illuminated coats-of-arms (see below), 17 hand-coloured woodcuts taken from a contemporary printed text on paper (from a copy of the Danish version of Luther, Husspostille published in 1564; 2 with substantial damage, and a further 8 spaces indicating that woodcuts were once there but have been removed or fallen away), this followed by some 32 paper leaves with near-contemporary additions of devotional material probably added for (or even by) Quitzow, mostly in quires of 8 and wanting a single leaf from this section, else complete, the first 6 leaves also approximately 16 lines in near-square single column, set within single red lines, thereafter 13 leaves with further devotional additions, the last leaves blank, some small natural flaws in parchment, small spots and scuffs, but overall in good and solid condition, 100 by 95mm.; Danish binding of c. 1800, marbled paper-covered pasteboards, spine backed with light tan leather, corners quartered with same, title “Bonn/bog” in ink on spine, with Thore Virgin’s “1570” added below Provenance:1. Written and illuminated for Jørgen Quitzow (d. 1599: see E. Ladewig Pederson in Adel forpligter - studier over den danske adels gældsstiftelse, 1983, p. 190, for brief comment) of Lykkesholm, Fyn: with the arms of his father’s family (Quitzow, beneath a silver helm and within metallic foliage) facing those of his mother’s family (Rønnow of Magelund, within golden foliage and gilt and red helm) as an illuminated opening on the inside facing pages of the first two leaves, and with a scrawled contemporary signature at the foot of those leaves that is certainly his own (“Jürgenn Qvitzow / med egen hand”). He was an important Danish magnate of the last decades of the sixteenth century, presumably named after his grandfather Jørgen Henningsen Quitzow (d. 1544), who served King Christian III as royal courtier and chancellor from 1537 until his death. His grandmother was Ellen Andersdatter (d. after 1558), a member of the influential Gøye family, who in later life became the first and founding abbess of the Lutheran Chapter for Noble Ladies at Maribo, Lolland, a house which took over the buildings of the first Bridgettine abbey in Denmark (that founded directly from Vadstena in 1418, and suppressed as a Catholic house during the Reformation, but with some nuns remaining in situ throughout the refoundation). This was a community of protestant ‘nuns’ in all ways bar their titles, made up from woman dedicated to prayer and Bible study in Danish and German. Such Lutheran chapters were a common phenomenon in early Reformation Denmark, often founded to ensure the suppression of earlier powerful Catholic religious centres (in this case the founding Bridgettine house of Denmark). However, old habits seem to have died hard, and in 1563 complaints were made to the bishop of Fyn that the inmates were harbouring Catholics, had resumed prayers for the dead of their Bridgettine predecessors and had returned to wearing the Bridgettine habit in private. Accusations of drunkenness and disorder followed and the house was suppressed in 1621.Two of the around twenty surviving medieval and Renaissance prayer books made for Danish private owners are securely connected to Maribo (K.M. Nielsen, A. Otto and J. Lyster, Middelalderens danke Bønnebøger, 1945-1982; cataloguing Copenhagen, GKS 1614, 4to and Thott. Samling 553, 4to), and it is possible that the scriptorium there produced also this codex, also produced this codex, perhaps as a gift to Qvitzow from his grandmother or maternal aunt (both reportedly abbesses of the house).2. Lt. Captain Thore Virgin (1886-1957) of Qvarnfors, Skåne, Sweden: his ex libris and small printed bookplate on front pastedown, noting the acquisition of the book in Copenhagen on 28 March 1927. The remnant of the Thore Virgin library was widely dispersed in recent years, but this volume has until now not appeared on the open market, and is completely unknown and unrecorded. Text and illustrations:The text opens with the calligraphic title, “En liden trøstelig Bønebog/ aff atskillige slaugs Tydske oc danske bønebøger de trøsteligste tilsamme[n] schreffuen/ nu udi denne siste Verdens tid gantske nødsommelig at bede. 15*70”, and includes a lengthy series of prayers interspersed with readings from SS. Augustine, Basil, John Chrysostom, Hilarion, Origen and others, and quotations from the works of Luther (including prayers), Ludwig Rabus (whose prayerbook was published in 1567), and Andreas Musculus (who published a devotional work in 1559). The last six leaves of the parchment section contain devotional Biblical readings.Books of Hours and prayer books translated into vernacular languages are of exceptional rarity, outside of the Dutch tradition (which had a strong vernacular tradition following the devotio moderna movement and the translation of Gerhard Groote). While a few hundred thousand such manuscripts exist in Latin, only a handful survive in a small number of other vernacular languages. Only about twenty-five such manuscripts substantially in German are currently known to exist (R. Cermann, ‘Über den Export deutschsprachiger Stundenbücher von Paris nach Nürnberg’, Codices Manuscripti, 75, 2010, pp. 9-24, and Sotheby’s, 2 December 2014, lot 49). Seventeen survive in Middle English, none earlier than the end of the fourteenth century (A. Sutherland, English Psalms in the Middle Ages. 1300-1450, Oxford, 2015, p. 27). The total number of Old French vernacular prayer books is unknown but probably no more than fifteen, with many examples of the sixteenth century (see V. Reinburg, French Books of Hours: Making an Archive of Prayer, c. 1400-1600, Cambridge, 2014, p. 96 for isolated examples). Of the roughly twenty prayerbooks and associated texts in Danish listed in Middelalderens danke Bønnebøger only three are outside of Denmark itself, and those all in Swedish institutional ownership (Kalmar, Läroverks Bibliotek; Stockholm, KB. A40; and Linköping, Theol. 217). Thus, this manuscript is almost certainly the only such work in any form of Danish which might appear on the market again, and most probably one of the very few early manuscripts in Danish still in private ownership. Additional Note: The presence of a previously overlooked catchword “Det” on the last leaf of the original parchment section of this codex indicates that a leaf or so is missing from the end of this section. Please note: that the original parchment section of this codex is missing a leaf or so from its end Ɵ Indicates that the lot is subject to buyer’s premium of 25% exclusive of VAT (0% VAT).  

A STILL LIFE STUDY OF AN ANGLER'S CATCH, circa 19th Century, oil on paper (possibly over a print)

After Henry Alken Senior (1785-1851) six etchings from 'Ideas, Accidental and Incidental To Hunting and Other Sports', comprising 'I say Bob you addent an Idea I could ride so well as you', ' I have an Idea I shall win now if I can but carry in my weight', 'I say my good woman have you any Idea how they manage here to get a horse out of a brook?', 'I have an Idea that this Fence is either too High or that my Horse is too Short', 'I positively have no Idea what I am to do in this case' and 'I have no idea what could induce me to follow you over this d...d rotten Bridge', 11.5 cm x 16.5 cm, framed and glazed; together with B. Macpherson (20th Century) watercolour and gouache on card, 'Still Life with Flowers', signed 'B.Macperson_' (lower left), 35 cm x 25 cm, framed and glazed; and five 20th Century prints (12)

English School, 19th century, HAYMAKING indistinctly signed, oil on board 20 x 23cm and Joyce Seddon (Contemporary) STILL LIFE oval, oil on board 12 x 16cm (2) The Betty and Barry Power Collection

A framed and glazed still life (Israeli)

A large unframed oil painting of a pond; together with a still life pastel study; an oil on board study of a shoreline; and various other pictures

A gilt framed oleograph still life study; together with an oak framed print of a sailing boat with windmills to the background and a pastel study of a waterfall

A framed oil on board still life study of flowers; together with a print on canvas of fruit; and a textile

G. Corbier, French, a gilt-framed early 20th century, oil on board of a still life of roses, signed bottom left, 23 x 31cm

Jane Trevail (contemporary) A large oil on canvas of a still life of lillies in vase on yellow ground, signed bottom right, 100 x 70cm, Studied at Falmouth school of Art and Academia di belle Arti, Florence,

A framed mid-20th century oil on canvas of a still life arrangement of daffodils and red tulips, signed 'Ingard, 51' bottom right, 59 x 49cm

Nin Parker, British, A 20th century framed oil on canvas of a floral still life composition, signed lower left, 59 x 33cm

A watercolour of a still life of roses, indistinctly signed to lower left, in glazed giltwood frame, 24 x 54cm

Llewellyn Petley-Jones (1908-1986), 3 unframed loose oil on canvases, including one of a gentleman dated 1963, 61 x 45cm, a still-life with red tulips and paint brushes dated 1969, 70 x 54cm and a still-life with apples dated 1960, 72 x 60cm

David White, British, A framed oil on board of a still life composition depicting a copper kettle amongst foliage, 1987, signed bottom left, 59 x 44cm

E. Charles Simpson framed still life watercolour of flowers in bloom.

H. Shaw, gilt framed oil on canvas, still life colourful flowers.

An Edwardian large still life paining on glass, irises. In decorative ornate frame.

A framed watercolour still life study

Victorian School oil on canvas Still life of fruit and a butterfly, 34 x 30cm.

Ellen Warrington (20th century British) still life of fruit and wine on a table,oil on board, 50 x 60cm.

Adrian Hill (1895-1977)oil on boardStill life of flowers in a vasesigned60 x 50cm.

Amy Beatrice Hazell (South African 1864 - 1946) NASTURTIUMS signed and inscribed with the title and artist's name on the reverse oil on board 30 by 24cmNasturtiums in a blue and white vase was painted early in the life of the artist, while she was living in Harrow, England, before she came to South Africa. This delightful still life has all the seasonal appeal of spring in a Delft vase, and is surrounded with a gilded Italianate frame hand made by the custom framers of C. F. Woodhouse, also of Harrow. Beatrice Hazell was an under-rated, yet talented still life painter who came to South Africa at the age of 21 and studied at the Cape Town School of Art where she developed her skill. In 1903 her work was shown on the second South African Society of Artist’s exhibition, a singular distinction as she was the only woman still-life painter to be included in a male dominated genre. Buoyed by her success, she encouraged her friend the young Maggie Laubser to take up painting at the time. Two of her works were shown in 2002 at the Iziko South African National Gallery on the exhibition entitled The Advancement of Art: The South African Society of Artists and its exhibitors, 1902 -1950 and are featured in the accompanying catalogue by ISANG Curator Hayden Proud. - C.K. Berman, E. 1974. Art and Artists of South Africa. AA. Balkema. Cape Town and Rotterdam. Proud. H. 2002. ‘The Advancement of Art’: The South African Society of Artists and its exhibitors, 1902 -1950. Iziko Museums of Cape Town/SASA: Cape Town.

Conrad Nagel Doman Theys (South African 1940-) STILL LIFE WITH FLOWERS signed and dated 1989 pastel on paper 35 by 30cm

Irma Stern(South African 1894 - 1966)ARAB DHOWSsigned and dated 1939gouache on card49 by 61,5cm Much like the French post-impressionist artist Paul Signac a generationbeforehand, Irma Stern loved to paint boats and she sought out thepicturesque in ports, harbours and rivers on her travels. The artistrecorded her impressions of water-borne vessels either sailing, dockedin port or casually beached in oils, gouaches and drawings, In an age ofocean travel, each view marked the stages of her frequent journeys upboth the Atlantic and Indian Ocean coasts of Africa to Europe and theMediterranean beyond.Seeking diversion at the outbreak of World War II from the drearyisolation of Cape Town society, Irma Stern sailed away to the IndianOcean island of Zanzibar in September 1939. She travelled from CapeTown Docks on the Dunvegan Castle to Dar es Salaam where shedisembarked to a ferry able to navigate the shallower waters aroundthe archipelago. It is most likely that one of the first sights that greetedher arrival was a fleet of Arab dhows1 sailing and sheltering in thesurrounding bays and coves.Her lengthy sojourn in 1939 was a great success and she was energizedand excited by the exotic life she encountered there. That experience,followed by an adventurous exploration of the Congo in 1942, kept theartist creatively occupied until the end of the war, when she returnedto Zanzibar once more in 1945. Her impressions were recorded in herartistic output - paintings, gouaches and drawings – and also in a seriesof letters and her now famous book Zanzibar, published in 1948. Thisperiod of intense productivity and subsequent commercial successmarks her golden period, the highlight of the artist’s career.As a cultured and well-read woman, Irma Stern was familiar with theantiquity and significance of the Omani Arab maritime trade on theSwahili Coast. A heady mix of Arab, African and Indian cultures inthe southern Indian Ocean region coalesced in Zanzibar from 10thcentury AD. As the last port of call for the Arabian dhows before sailingthe treacherous waters of the Mozambique Channel, it was also thedestination of larger, open ocean ships sailing from the Malabar Coastof IndiaPropelled by the Monsoon winds in a seasonal round, sailors fromOman and the Arabian Peninsula linked the East African coast to thetrading entrepots of the Persian Gulf, the Mediterranean and the IndianOcean World as far as China.In her travelogue Zanzibar published after a second visit to the island in1945, the artist reflects on the reach and antiquity of Arab dhows piledwith exotic trade wares:With the East trade wind the dhows come down from Arabia and Persiato Zanzibar to trade filled with goods such as coffee, spices, dates.Persian prayer rugs, antique copper vessels and Lamu pottery (Chinesepottery made for the Arabs). The dhows are also loaded with ghee andother eastern foods, with silks from India and China, with shawls fromCashmir, with brocades and jewels from Ceylon. The Arabs come downto Zanzibar for half a year, trade their goods, and leave again just beforethe commencement of the westerly monsoon. The heavy woodendhows hewn out by hand from solid blocks of wood are packed withcorn, millet, calico and other western products – and lately even withold motor cars!Fresh insight into Irma Stern’s Indian Ocean world is provided by therecently rediscovered Arab Dhows (1939), a golden and aqua infusedgouache, signed and dated by the artist.Presenting a view of beached dhows in a sandy Zanzibar cove withluminous Indian Ocean beyond, one of two foreground figures repaintsa boat, while more dhows lie at anchor in the bay. This work has neverbeen seen beyond her first Zanzibar exhibition in 1940 in Johannesburgat the Preview of her Exhibition of Paintings from Zanzibar, TuesdayDecember 3rd at 4:00 pm. Gainsborough Galleries, Johannesburg.The exhibition was a heady success for Irma, following on from thepivotal Cape Town showing of her work at Martin Melk House inDecember 1939, where the iconic Arab Priest was sold. Johannesburgcritics praised her new Zanzibar work, and in her press clippings bookthere are two reviews that mention Arab Dhows specifically:In a piece titled Arresting Picture Exhibition, (Rand Daily Mail ofDecember 4th, 1940) the critic L.S. writes:The remarkable lightness of style she shows in some of her tempuralike “Street in Zanzibar” are vibrant with atmosphere, and “ArabDhows” done with almost careless freedom”.On 6th December 1940 (The Zionist Recorder) observed:…amongst her collection of tempera paintings “In the Bazaar”, “ArabDhows”….at once hold the eye by the deftness of their executionIrma Stern was an astute business woman recording each sale in herledger book in her distinctive hand, No 33 in the catalogue Arab Dhowswas sold in December 1940 to :Miss B. McLeod, Kingsborough, Main Ave. Reviera, Johb. To be paidat 4 Guineas per month.The work was dutifully paid off as promised by a young actress as a giftfor her father.Since that time the work has remained as the property of her heirsand has never been sold or publicly seen previously. Therefore, it givesus great pleasure to debut Arab Dhows to the art loving public and inparticular collectors of important works by Africa’s most acclaimedwoman artist, Irma Stern. - C.K. An impeccable provenance – Irma Stern’s Arab Dhowsby Bryan RostronThis painting has always been in our family. It was bought at IrmaStern’s Johannesburg “Zanzibar” exhibition in 1940 by my mother,the actress Barbara Macleod, as a present for her father, Lewis RoseMacleod, then editor of the Rand Daily Mail. The sale price was 12guineas, which she paid in installments – scrupulously, according toIrma Stern’s records - at four pounds a month.On the death of Lewis Rose Macleod in 1941, this Irma Stern paintingpassed to my mother, Barbara Rostron, and on her death in 2004, itpassed to me, Bryan Rostron, her only child. 1 - The Swahili word ‘dhow’ is a generic term for the pre-European ships of the Indian Ocean.Traditionally these dhows were sewn together using coconut coir (fibre) that was a medievalpractice. The dhows are typically rigged with a lateen sail, which is the classic triangular-shapedsail attached to a cross beam that is raised and lowered according to the winds. Boats range in sizefrom small fishermen’s boats to vessels over a hundred feet long.Berman. M. 2003. Remembering Irma. Irma Stern: A memoir with letters. Double Storey Books.Cape Town.Kaufmann, C. 2015. Zanzibar and the Swahili Coast. In Kaufmann, Carol and Lewis.A.eds. Brushing upon Stern. Iziko Museums. Cape Town. ( P.65)Klopper, S. 2017. Irma Stern Are you still alive? Stern’s life and art seen through her letters to Richardand Freda Feldman, 1934-1966.Orisha Publishing. Cape Town. ( P.92)National Library of South Africa (Cape Town Campus). Irma Stern Archive.Stern.I. 1948. Zanzibar. Van Schaik, Pretoria.

Robert Bevan Slingsby (South African 1955-) STILL LIFE WITH FISH AND MELONS signed and dated 1994 mixed media on card 51 by 63cm

Stanley Pinker (South African 1924-2012) PASTEL STILL LIFE WITH LEMONS signed oil on board 38,5 by 34,5cm Known as a prolific, witty painter with a keen eye for composing theatrical scenes, the late Stanley Pinker has excited the interest of major collectors and institutions around the world. After travelling extensively in Europe, the artist finally settled in South Africa, claiming that he realised that “everything [he] want[s] is here.â€1 His artistic sensibility has inspired many of the young artists he has mentored, including internationally renowned painter, Marlene Dumas. Although Pinker has painted many still lifes, this rather unique work falls outside of the artist’s usual colour palette, boasting unobtrusive pastel shades of purples, greens, blues and yellows. Pinker’s work was often inspired by the 20th Century European art movements of Cubism, Dadaism and Surrealism2. In this work, the artist makes use of multiple planes of perspective, which split the image and compartmentalise it into overlapping squares. The softer colours provide a calming effect on the viewer and tie the composition together, counteracting the cubist-inspired perspective. The painting is highly reminiscent of Pablo Picasso’s cubist still lifes, featuring the patterned wallpaper in the background and relatively organic shapes, which just border abstraction. Esmé Berman, South African art historian, noted that the artist, “attempt[ed] to create a new psychological dimension within his canvases by distorting space and recomposing elements of observable reality within this new environment.â€31 Michael Stevenson, Stanley Pinker (Cape Town: Michael Stevenson), 17. 2 Michael Stevenson, Stanley Pinker (Cape Town: Michael Stevenson), 7 – 9. 3 IOL, “Pinker toucher more than a paint brush.â€- LD

Pablo Picasso (Spanish 1881-1973) NATURE MORTE AU CHARLOTT signed and editioned 136/350 with pencil in the margin; label on the reverse bears the artist's name and title screenprint printed in colours PROVENANCEFrom: Wolpe Gallery 68,5 by 57cm Using enticing colour combinations of soft sky-blues, rich browns and sombre greys, Pablo Picasso draws the viewer into a delectable still-life of a table set with a glass, a plate and a popular European dessert, a charlotte or icebox cake. The white highlight at the centre of the composition hints at a curtain being partially drawn back to illuminate the table setting. This particular image is derived from an original painting by the artist, Nature Morte à la Charlotte (1924), which is currently housed in the collection of the Centre Pompidou, Paris1. The style of the print speaks to synthetic Cubism, of which Picasso was one of the pioneers. This entails 3-dimensional objects being depicted from multiple viewpoints while simultaneously flattening the depth of the image, inspired by Paul Cezanne’s words in 1907, “You must see in nature the cylinder, the sphere, and the coneâ€2 . Although staying true to its conventions, Picasso has also introduced more organic shapes and lines in this work, adding subtlety to the striking disjointedness that Cubism may convey. 1 Centre Pompidou, “Nature Morte à la Charlotte.†2 Robert Fisher, Picasso (New York: Tudor Publishing, 1967), 6-7- LD

PHILIP PERKINS (1907-1970)Still Life, Flowers, 81 x 65cmOil on canvas, 91.5 x 61cmSigned; inscribed with artist's name and address in pencil '3 rue Henri Regnault (14th)' on stretcher verso

A collection of framed artworks to include D Palsey oil on canvas( with original certificate of guarantee) together with similar still life study and landscape scene(3)

Edith Kay, three oils, still life and two landscapes

Edwin Byatt - Still life with cabbage roses in a glass vase, lithograph

Clement Costelli - Still life with dead hare and songbirds, with fruit and brown urn, oil on board, indistinctly signed lower right, 65 x 96cm

Assorted pictures and prints to include RE Drummond - still life with wild flowers, oil (6)