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§ WILLIAM CROSBIE R.S.A. (SCOTTISH 1915-1999) STILL LIFE WITH COFFEE POT Signed, oil on canvas Dimensions:43.5cm x 57.25cm (17in x 22.5in) Provenance:Exhibited: The Scottish Gallery, Edinburgh, William Crosbie, March 1948, no.8

§ MARY NICOL NEILL ARMOUR R.S.A., R.S.W. (SCOTTISH 1902-2000) STILL LIFE WITH TRILLIUM Signed and dated 1976, oil on canvasDimensions:61cm x 46cm (24in x 18in)

After Mary Fedden framed oil on panel still life of flowers in a flower pot, signed and dated bottom right, 25 x 17cm

A framed oil on canvas still life of flowers in a vase, indistinctly signed bottom right, 61 x 50cm

A framed oil on canvas still life of flowers in the Dutch 17th century style, bears plaque for T Van Brussel dated 1797, 60 x 47.5cm

Jan Van Os framed oil on canvas still life of flowers on a table signed middle bottom, 72.5 x 60cm

Margo Ingham (1918-1978) Floral still life Signed and dated '47, oil on canvas board. 49 x 39cm (framed 58.5 x 48.5cm) * Ingham was a Lancashire-based artist influenced by L.S. Lowry. In 1946, along with her husband Ned Owens, she set up the Mid-Day Studios in the basement of a house opposite Manchester City Art Gallery, it was where Lowry's first major one-person show was held in 1948.Artists’ Resale Right (“droit de suite”) may apply to this lot. The painting is in very good, original condition. There are some small areas of surface mold across the painting and fabric slip mount. The painting is ornately framed and glazed. The original frame has some minor scuffs and knocks commensurate with age.

Peter Stanaway (British 1943-) "Still Life with Face" Signed, oil on board.24 x 20cm (framed 41 x 37.5cm)Artists’ Resale Right (“droit de suite”) may apply to this lot.The painting is in very good, original condition with no obvious faults to report. The painting is ornately framed but not glazed. The frame has some minor scuffs and knocks commensurate with age.

Marion Broom - a still life study, chrysanthemums in a vase  watercolour  bears a signature  21" x 30"  framed

FOUR STILL LIFE WATERCOLOUR, UNSIGNED. LARGEST 39 x 28cms (4)

A LARGE STILL LIFE PAINTING BY MARY TEMPEST.

ANTHONY MORRIS. .DANCERS IN A TOWN SQUARE, AND MERTON COLLEGE, WATER COLOURS TOGETHER WITH A STILL LIFE OF FLOWERS AND AN IMPRESSIONIST RIVER VIEW BY THE SAME HAND

P. HAZELWOOD, WATERCOLOUR. A HENRY RALPH STILL LIFE WATERCOLOUR, AN ETCHING BY MICHEAL BLAKER AND VARIOUS OTHERS.

F.B. (XIX-XX). British school oval still life study of fruit on a mossy bank, signed with monogram lower right, oil on board, framed and glazed, 21 x 28 cm

J. FORD. Still life study of fruit on a mossy background, signed and dated 1885 lower right, oil on canvas, unframed, 36 x 43 cm

GEORGE TAYLOR (XX). Staffordshire potteries artist, a pair of still life studies of bowls of flowers, both signed and dated 1947 lower right, watercolours, framed and glazed, 21 x 30 cm

(XIX). A still life study of flowers and foliage on a table, unsigned, watercolour, framed and glazed, 33 x 43 cm

REGINALD HARRY AUSTIN (1890-1955). Still life study of roses in a vase, signed lower left, watercolour, framed and glazed, 54 x 47 cm

W. H. HUNT (XIX-XX). Still life study of fruit on a mossy bank, signed lower right, watercolour, framed and glazed, 11 x 16 cm

D.C. FRANCOIS (XX). Early to mid century Continental school, still life study of roses in a vase, signed lower right, oil on canvas, framed, 70 x 50 cm

(XX). Continental school, still life study of numerous flowers on a table, unsigned, oil on canvas, framed, 80 x 105 cm

VINCENT CLARE (1855-1930). Still life study of flowers and birds nest with eggs on a mossy bank, signed lower right, oil on board, unframed, 20 x 25 cm

Yvonne Tocher (British, 20th Century), still life of pink blossom in a vase, signed l.l., oil on board, 65 by 48cm, framed

Bernard Myers (British, 1925-2007), still life of wildflowers in a blue and white striped mug, signed l.r., pastel, 35 by 24cm, framed. Note: Artist Resale Rights apply

A Worcester pumice ground dish, crescent mark, circa 1775, ogee section fluted form, the central still life of fruit and basket within a blue ground and gilt coral web ground, 25cm diameter

Dutch School (19th century), Still Life of Flowers, oil on canvas, unsigned, 75 x 62cm. FramedCondition Report: Old relining, baggy on stretcher, dent/hole to canvas middle right, some paint losses, fine craquelure, opaque varnish, some retouching visible under u.v. light, needs cleaning and restoration.

H. Antone (Dutch 20th century). Still Life of Mixed Flowers displayed on a ledge, oil on canvas, signed lower right, 92 x 69cm. Condition Report: Modern work, artificially aged, to appear earlier so a matter of personal taste if it is to be cleaned.

Terence Alexander (20th century), Floral still life, oil on canvas, signed lower right, 61 x 91cmCondition Report: Modern painting artificially aged, ready to hang.

Francesco Domingo Segura (Spanish 1893-1974). Still Life with Grapes in a Woven Bowl, oil on canvas, signed lower left, 37 x 45cm. FramedCondition Report: Slight puckering to canvas in top corners, slight peripheral rubbing, may benefit from a clean.

Freda Marston (British, 1895-1949), Still life with flowers, oil on board, signed lower left, 46.5cm x 36cm. FramedCondition Report: Scattered retouchings appear under u.v. light, though this may be the uneven surface dirt, certainly needs a good clean.

** Bowater (20th century). Lake landscape with a ruined castle, oil on canvasboard, signed, 42 x 69cm. Framed; together with a pair of floral still life studies, watercolour, signed R.W. Witt, Framed (3)Condition Report: May benefit from a light clean. Watercolours rather grubby, may need a clean.

Jan Brueghel d.Ä.,auch genannt "Sammetbrueghel" oder "Blumenbrueghel", 1568 Brüssel – 1625 AntwerpenGROSSES BLUMENSTILLLEBEN MIT EDELSTEINENÖl auf Holz. Verso Parkettierklötzchen.65 x 43 cm.Beigegeben eine Expertise von Dr. Jaco Rutgers, Tilburg Niederlande, 2. Juli 2020.Das Bildformat zeigt sich betont hochgestreckt. Dies mag in der Absicht des Malers gewesen sein, einen besonders hohen Strauß unterschiedlichster Blumen vorführen zu können, wobei hier die kugelförmige Vase sowohl in der Größe als auch in der tonigen Farbe bewusst weniger die allererste Aufmerksamkeit auf sich ziehen sollte. Die einzelnen Blüten sind in akribischer Genauigkeit wiedergegeben, die Farbtöne verteilen sich in dem Hochoval des Blumengebindes ausgesprochen überlegt, sodass eine Ausgewogenheit trotz aller dieser verschiedenen, zum Teil kräftigen Farben erzielt wurde. Wie im beiliegenden Gutachten hervorgehoben, lassen sich einige Pentimenti, also Abänderungen während des Malprozesses erkennen: So etwa sollte die obere gelbe Tulpenblüte ursprünglich noch weiter oben platziert werden, was als ein zusätzliches Indiz für das betont hohe Format gilt. Andererseits beweisen diese Änderungen auch, dass es sich hier wohl um eines der allerersten Blumenstilleben des Meisters handelt, in einer Zeit, als er noch bemüht war, jeweils wirkungsvollere Positionen einzelner Blüten zu finden. So war auch an der gelben Tulpe rechts unterhalb der blauen Iris eine Änderung zu entdecken. All diese Beobachtungen zeigen, dass die auf den ersten Blick so einfach erscheinende Komposition für Brueghel keineswegs von vorneherein feststand, sondern vielmehr als Ergebnis eines Werkprozesses zu sehen sind. Allein schon aus den zu unterschiedlichen Zeiten blühenden Blumen ergibt sich, dass Brueghel über die entsprechenden Monate hinweg tätig war, malte er doch die Blüten stets nach der Natur. Aus der erhaltenen Korrespondenz zwischen Brueghel und seinen Gönnern in Mailand, Cardinal Federico Borromeo und Ercole Bianchi, geht hervor, dass der Maler sich erst 1606 oder schon etwas früher diesem Bildthema gewidmet hat, indem er übliche Blumen mit ausgesprochen seltenen Blüten zu vereinen suchte. Das hat natürlich auch Reisen an entsprechende Blumenmärkte zwischen Brüssel und Antwerpen erfordert, wobei er auf jegliche Mitarbeit anderer Maler verzichtet hat. Diese frühe Datierung stimmt auch mit dem dendrochronologischen Gutachten (Prof. Dr. Peter Klein) überein, was eine mögliche Entstehung des Gemäldes ab 1598 indiziert. Eine Besonderheit dieses Gemäldes ist das Einbringen von kleinen Diamanten, rechts unten auf der Tischplatte zwischen Käfern und der Jasminblüte zu sehen. Dies geht aus einer Erklärung des bereits genannten Mailänder Gönners Cardinal Federico Borromeo hervor: Entsprechend dessen Äußerungen (Musaeum 1625) hat ein Gemälde den Wert von Edelsteinen, und er hätte auch entsprechend dafür bezahlt. So haben wir es mit vorliegendem Blumenbild Brueghels auch mit einem Dokument der Stilllebenmalerei der Zeit generell zu tun. Ein vergleichbares Stillleben findet sich in der Gemäldeabteilung des Kunsthistorischen Museum zu Wien (GG-548), mit ähnlicher Verteilung und Verwendung der Blumen. Auch dort sind an entsprechender Stelle auf der Tischplatte Wertobjekte zu sehen: ein Edelsteinring, Diamanten und Münzen; wobei die Münzdatierung 1599 nicht eindeutig als Datierung des Gemäldes gesehen werden kann. Der Autor der beiliegenden Expertise ersucht den Eigentümer des Bildes, dieses bedeutende Werk für die geplante Ausstellung „The Brueghel-Dynasty“ im Noordbrabants Museum in ´s-Hertogenbosch für Herbst 2023 leihweise zur Verfügung zu stellen.Anmerkung:Jan Brueghel d. Ä. war Sohn des Pieter Brueghels I (um 1525-um 1569) und der jüngere Bruder des Pieter Brueghels II (um 1564-1637/38). Seine Freundschaft mit Paul Bril (um 1554-1626) anlässlich des gemeinschaftlichen Aufenthaltes in Rom ist ebenso bekannt, wie seine Zusammenarbeit mit Johann Rottenhammer (1564-1625). Zurück in Flandern wurde er 1597 Mitglied der Antwerpener Lukasgilde, später deren Dekan. Auch sein Sohn Jan Brueghel d. J. setzte die Maltradition erfolgreich fort. 1604 in Prag, wirkte er anschließend für den Hof in Brüssel. Letztlich zeugt das Gruppenbild seiner Familie, gemalt von Peter Paul Rubens, vom Rang des Künstlers zu seiner Zeit (Courtauld Gallery London). A.R. (1302111)Jan Brueghel the Elder,also known as "Velvet-Brueghel" or "Flower-Brueghel",1568 Brussels – 1625 AntwerpLARGE FLOWER STILL LIFE WITH GEMSTONESOil on panel. Parquetting slats on the reverse.65 x 43 cm.Accompanied by an expert‘s report by Dr Jaco Rutgers, Tilburg NL, 2 July 2020.It is obvious that the composition of the present painting is the result of a work process. This is probably one of the very first flower still lifes by the master, at a time when he was still trying to find more effective positions for individual flowers. For example, the top yellow tulip was originally intended to be placed higher up, which is an additional indication for the deliberately tall format. As highlighted in the accompanying expert‘s report, some pentimenti, i.e. visible traces of modifications made during the painting process, are obvious. This early dating also corresponds with the dendrochronological report (Professor Dr Peter Klein), which indicates that the painting may have been created after 1598. A comparable example is held at the painting department of the Kunsthistorische Museum in Vienna (GG-548). The author of the enclosed expert‘s report is requesting the owner of this important painting to make it available on loan for the planned exhibition “The Brueghel - Dynasty“ at the Noordbrabants Museum in ’s-Hertogenbosch for autumn 2023.

Jan Fyt, 1611 Antwerpen – 1661 ebendaGemäldepaarSTILLLEBEN MIT FRÜCHTEN UND VÖGELNÖl auf Leinwand. Doubliert.93 x 114 cm.Einer der beiden signiert unterhalb des Papageis.In geschnitztem und vergoldetem Rahmen.Wir danken Fred Meijer für seine Bestätigung der Autorschaft des Künstlers sowie für seine Datierung der Stillleben in die 1640er-Jahre (30. Oktober 2023).Einmal ein profiliertes rotes Marmorbecken mit darüberhängendem Hasen, sowie Trauben, Zitrusfrüchten und einem Papagei nebst Kraakschale, einmal ein blau bezogener barocker Stuhl mit darauf liegender, mit Früchten gefüllter Schale sowie eine Schale mit Hummer nebst erlegten Vögeln und Hase, beäugt durch eine Katze. Das Gemäldepaar von hoher malerischer wie kompositioneller Qualität. Fyt war Spezialist in mehreren Arten des Stillebens. In den vorliegenden Gemälden hat der Maler auf zwei dieser Stilllebengattungen zurückgegriffen, wobei die Jagd, vorbehalten für Domainen-Besitzer dem Prestige gedient hat und Ausdruck höfischer Lebensart war. Auch die wohl nach Noreuropa importierten Südfrüchte, die in beiden Gemälden eine Rolle spielen, aber auch der Hummer, die Kraakporzellane und das große Marmorbecken dürften in diesem Sinne Beweis hohen und höfischen Anspruchs gewesen sein. (1380522) (13)Jan Fyt, 1611 Antwerp– 1661 ibid.A pair of paintingsSTILL LIFES WITH FRUIT AND BIRDS Oil on canvas. Relined.93 x 114 cm.One painting signed below the parrot. We would like to thank Fred Meijer for his confirmation of the painter and for his dating of the still life to the 1640s (30 October 2023).

Gerard van Berleborch, um 1610 – um 1660, zug.STILLLEBEN MIT KRAAKSCHALE, WEINGLAS UND FRÜCHTENÖl auf Holz.55 x 73 cm.Auf der Tischplatte links bezeichnet „G v Berleborch f“ und datiert „1655“.In gekehltem Holzrahmen.Das hier angebotene Gemälde ist beim RKD in Den Haag unter Nummer 7387 registriert.Komposition von rechts in das Bild hereinragender durch ein Textil gedeckter Tischplatte. Darauf eine ornamental verzierte Silberplatte, eine absteigende Diagonale beschreibende Kraakplatte sowie ein mit Zitrone dekoriertes gefülltes Weinglas, das zwar nicht an Maerten Boelema de Stomme heranreicht, jedoch in ähnlicher Weise das Bild dominiert. Des Weiteren zieren Pfirsiche, Weintrauben und Silbergerät das Werk.Provenienz:Curt Benedict, Paris, 1957. Brian Koetser, London, 1966.Galerie Fischer, Luzern, 12. November 1974, Lot 2181.Galerie Edel, Köln, 1985.Sammlung Dr. Heinrich Jellissen.Sotheby‘s, London, 6. Dezember 1995, Lot 183.Literatur:B. J. A. Renckens, Aanvulling, in: Oud Holland, Vol. 82, Nr. 4, Januar 1967, S. 236, Abb. 3.N. R. A. Vroom, A modest message as intimated by the painters of the „Monochrome banketje“, Bd. 3, Nr. 9, Schiedam 1980. (13813610) (13)Gerard van Berleborch, ca. 1610 – ca. 1660, attributedSTILL LIFE WITH KRAAK BOWL, WINE GLASS, AND FRUIT Oil on panel.55 x 73 cm.Inscribed on tabletop “G v Berleborch f” and dated “1655” on the left.Literature: B. J. A. Renckens, in: Oud Holland, 82, 1967, p. 236, ill. 3.

Hugo Charlemont, 1850 Jamlitz, Mähren – 1939 WienBLUMENSTILLLEBEN MIT KRUG UND LAUTEÖl auf Leinwand. Doubliert.120 x 66,5 cm.Verso: Etikett des Auktionshaus im Kinsky sowie Austellungsetikett von „The Edith C. Blum Art Institute. Annandale-on-Hudson, New York, The Bard College Center.“.Vor einem dunklen, uniformen Hintergrund steht eine große, mit Blumen gefüllte Vase, die sich durch eine farbenfrohe Palette vom Rest der Komposition abhebt. Auf dem mit einem roten Tuch bedeckten Tisch liegen eine Laute und ein Glaskrug, ebenso wie ein weißes Tuch. Charlemont gilt als traditioneller naturalistischer Maler, der den Einflüssen des Impressionismus nahe stand, dabei aber seinem kanonischen Stil von Landschaften, Portraits und Stillleben treu blieb.Provenienz: Sotheby‘s London, 19.6 Juni 1985, Lot 159.Privatbesitz, Wien.Leon Botstein (Hrsg.), Linda Weintraub (Hrsg.), Pre-Modern Art of Vienna 1848-1898, New York 1987, S. 115 mit Abb.Ausstellung:Pre-Modern Art of Vienna 1848-1898, The Edith C. Blum Art Institute of Bard College, Annandale-on-Hudson, New York 1987, mit Abb. auf S. 115 des Ausstellungskatalogs. (13810516) (10)Hugo Charlemont,1850 Jemnice, Morivia – 1939 ViennaFLOWER STILL LIFE WITH JUG AND LUTEOil on canvas. Relined.120 x 66.5 cm.Exhibition label from “The Edith C. Blum Art Institute. Annandale-on-Hudson, New York, The Bard College Center”.

Zuidersma, Arie (Emmen 1925-Zuidlaren 2014) "Still life with bottles and slaves", signed in full bottom right, acrylic/canvas, h 60 x w 80 cm.

Sir David Wilkie RA (1785-1841)  The Dreamer Pencil and watercolour on paper, 12.7 x 17.8 cm (6 x 6¾") Titled in pencil, dated ‘Dublin, August 12th 1835Provenance: Colnaghi’s, London; Private collection, Channel IslandsAt the height of his immense fame as one of the most famous British artists of the nineteenth century, David Wilkie visited Ireland in the late summer of 1835 and The Dreamer is one of a series of drawings he executed in Dublin as part of a proposed visual exploration of Irish history and culture, As his early biographer records: it was suggested to Wilkie that ‘Irish history, domestic as well as national, had failed to attract the pencils of the recording brethren of the easel’.At this date, he continued, ‘Maclise had scarcely begun to embody the creations with which he has since illustrated Ireland’. And so ‘with a picture or two of a national kind in his head, the painter departed for Ireland and reached Dublin about the middle of August where he made sketches from scenes and characters such as he reckoned would unite well into a picture.’The first of these pencil sketches done from Dublin street characters and other notable personages, as recorded in the Life of the Artist of 1843, was the present work 1) The Dreamer. Others in the sequence included 2) The Holy Water; 4) The Nun’s Darling; 8) The Carmelite.  (Allan Cunningham, The Life of Sir David Wilkie….3 Vols,  London, 1843, Vol. 3, p. 99). Wilkie’s trip to Ireland can be followed through a sequence of dated drawings. The day after he drew The Dreamer, for example, on 13 August, he drew an Irish Baptism (British Museum, 1885,0711.29700); clearly the overt religiosity of the populace fascinated this son of the manse. However, Wilkie’s work outside the capital ultimately proved more fruitful than these Dublin drawings.Of the sketches made ‘in various parts of the island’ The Smuggling Still at Work and the Peep-o’-Day Boy were translated into major oils (National Gallery, Edinburgh, 1840; Tate, 1835–6, exhibited 1836). But the freshness of observed reality on display here, as Wilkie sketches a sleeping – and dreaming – book vendor, makes for a hugely appealing and very rare Irish work by this great Scottish artist. Important Irish Art | 6 December 2023 

Harry Clarke RHA (1889 - 1931) The Colloquy of Monos and Una (1923) Pencil, ink and watercolour, 40 x 29.5cm (15¾ x 11½") Signed with initialsProvenance: Albert Ernest Wood KC (1873 - 1941), Marino, Killiney, Co. Dublin (now known as Abbey Lea, residence of H.E. The Australian Ambassador), thence by descent to the current owners.The title of Edgar Allan Poe’s collection of stories, Tales of Mystery and Imagination, seems to encapsulate the essence of Harry Clarke’s creative vision when it comes to the realm of book Illustration, and so it is no surprise that Clarke was drawn to this volume of strange and macabre tales; his diary entry for 17 March 1914 reveals that as a twenty-five year old he was reading Poe’s classic, already with a view to illustrating them.[1] In 1919 George G. Harrap and Company of London published an edition of Tales of Mystery and Imagination illustrated by Harry Clarke but only featuring black and white images, however this illustration, The Colloquy of Monos and Una, comes from the expanded edition of 1923 which was released with many more illustrations, including eight colour plates for which Clarke was paid £100 by Harrap.[2] The Colloquy of Monos and Una was conceived as a dialogue – or colloquy – between two lovers reunited after death; Una had only just joined Monos in the afterlife and her sombre mind still lingered on the mortal world, preoccupied with the thoughts that had filled her last days on earth, specifically how her lover Monos experienced his final hours. The narrative reflects on philosophical themes such as the relationship between knowledge and perception. Poignantly, while Poe was writing The Colloquy of Monos and Una, his young wife contracted tuberculosis which would eventually kill her – the same disease that would claim Clarke’s life eight years after he created his illustrations for the 1923 edition. Clarke depicts Monos and Una almost as one, with his hand gently supporting her arm, their heads inclined towards each other and almost touching, yet they both seem lost in their individual memories; it is an image that conveys both physical intimacy yet emotional distance. Their wide-eyed features and slender hands, typical of Clarke, emerge from their astonishing Art Deco-influenced costumes – reflecting Clarke’s interest in theatre – with a myriad of pleats, patterns, folds and tassels. Despite the obvious substance of their costumes, the erstwhile lovers hover above the earth, accompanied by a trail of curious companions who disappear into the cosmos. In 1924, a year after the book was published, Harry Clarke sold several of the illustrations he created for Tales of Mystery and Imagination to the Crawford Art Gallery (which acquired them using the Gibson Bequest Fund). Dr David Caron, November 20231. Quoted in Bowe, Nicola Gordon, Harry Clarke, the Life and Work (2015 ed.), p. 69 2. Ibid., p. 208

Peter Collis RHA (1929 - 2012)Still Life with Large JugOil on canvas, 77 x 87cm (30 x 34")Signed, artist's label verso

Patrick Hennessy RHA (1915 - 1980) Marine Encounter (PH212) Oil on Canvas, 62.5 x 89cm (25 x 35") Signed Provenance: With Guildhall Galleries, Chicago, label verso; Private Collection, DublinHennessy’s work was very different to that of his Irish contemporaries, he favoured more traditional subject matter, landscapes, still lives and portraits. His finesse and skill as a painter were best exemplified in his depiction of animal life, with an incredible eye for detail and anatomical correctness.His works have a slightly surreal character, often set within isolated landscapes, each with their own internal narrative. In this work the odd encounter of the butterfly, song bird and conch shells, are arranged as a miniature tableau. Hennessy is influenced by the art historical genre of still life painting, mastered by Dutch Golden Age artists, in which animals and food were arranged in highly realistic and abundant displays.Ill health led to permanent move to Morocco in 1968, where he could benefit from a warmer climate. Some of his later works, depict the deserts of that landscape, such as Mare and Foal, sold in these rooms in 2019. The beach landscape in this work is suggestive of the North African coastline, with its distinctive cliff faces, one in the immediate background, stands as individual layers of rock stacked on top of each other, eroded by the seawater. While in the farther distance, an impressive promontory cuts through the picture plane and into the sea beyond.Niamh Corcoran, November 2023

Baur, Max -- Campanula with grass. 1930s. Vintage gelatin silver print on doubleweight ivory paper. 29 x 20,5 cm. Mounted to board, signed by the photographer in pencil below image on mount in lower right.The German photographer Max Baur photographer is known for his significant contributions to the New Objectivity movement in the early 20th century. His photography primarily focused on industrial subjects, architecture, and urban landscapes, characterized by precise composition and sharp lines. Baur also created exquisite flower still life photographs, showcasing his versatility and artistic depth within the New Objectivity style. – Slight mirroring in lower portion, retouched spot in negative, otherwise a fine warm-toned print in very good condition.

Häusser, Robert -- "Nescafé". 1956. Vintage ferrotyped gelatin silver print. 15,5 x 23 cm. Mounted to board, signed, titled and dated by the photographer in pencil below the image on the mount; photographer's stamp and titled and dated by the photographer in pencil on mount verso.Throughout his career, Robert Häusser consistently exhibited an extraordinary talent for encapsulating the quintessence of his subjects, whether they were people, landscapes, or still life. His photography is marked by a pervasive sense of timelessness, achieved through a meticulous dedication to detail and a keen eye for composition. Häusser's ability to transcend temporal boundaries and convey the enduring beauty of his subjects is a hallmark of his remarkable body of work. – Light surface pitting visible at an angle, upper edge slightly bumped, otherwise a rich dark print in very good condition.Lit.: Robert Häusser. Photographische Bilder. Werkübersicht der Jahre 1941 - 1987 (exhibition catalog). Stuttgart 1988, ill. plate 216.

Circle of Christian Berentz (Hamburg 1658-1722 Rome)A still life with glassware on a wooden box with fruit and an urn of flowers oil on canvas98.5 x 134.8cm (38 3/4 x 53 1/16in).This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP For auctions held in Scotland: Lots will be moved to an offsite storage location (Constantine, Constantine House, North Caldeen Road, Coatbridge ML5 4EF, Scotland, UK) and will only be available for collection from this location at the date stated in the catalogue. Please refer to the catalogue for further information.For all other auctions: Lots will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

German School, 17th CenturyStill life of a basket of nuts with onions, bread and beans on a table-top oil on panel53.5 x 81.8cm (21 1/16 x 32 3/16in).This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

A Sèvres cup and saucer (gobelet litron et soucoupe), dated 1782Of the first size, painted by Jean-Jacques Pierre (le jeune), with a pale green Taillandier ground with red and blue dots, reserved with gilt-edged heart-shaped cartouches enclosing sprays of pansies, the cup with a central cartouche of a flower and fruit still life, the rims with gilt scrollwork and pink borders, the saucer well with a rose spray surrounded by a gilt and pink border, the cup: 7.2cm high; the saucer: 14.9cm diam., interlaced LL monograms enclosing date marks EE and painter's mark for Pierre (le jeune), gilder's marks for Vincent (very minor wear) (2)For further information on this lot please visit Bonhams.com

Jef VAN DE FACKERE (1879-1946) 'Still life with an elephant' oil on canvas.Dimensions: (W:90 x H:71 cm)

Daphne McClure (b.1930)Still Life with Birdssigned (lower right)oil on board27 x 39cm. Board slightly curled to lower left corner otherwise appears good.

Adrian Allinson (1890-1959)Still Life with Staffordshire Potterysigned (lower right)oil on canvas54 x 79cm. Worm holes to stretcher and backing paper. Paint flaking mainly to central blue flower and fallen petals. A few further small losses/unstable areas. Small scratches to left hand dear. Otherwise good.

Robert Pansart (1909-1973)Still Life with Tree Beyondstudio stamp (to reverse)gouache52 x 79cm. Obvious fold line through the centre, rim of paper discoloured and marked. Paper is crinkled and not laid flat. Many other marks, dots, blemishes, scratches to picture. Light surface dirt. Abrasions and scuffs.Paper ripples and may once have been in damp conditions.See high-res images.

R. Seymour pair of watercolours, 'Still life', signed

JOHN DUDGEON "Fruit in a bowl on a table", a still life study, oil on panel, signed lower right, signed verso, 33 cm x 41.5 cm, together with DEREK BRIDGEWATER "The red house", a town scene with cars, oil on board, signed and dated 1966 lower right, inscribed on artist's label verso, SARAH HARTLAND "Landscape in yellow and blue", pastel, initialled lower right, bearing artist's label verso (8)

MID 20TH CENTURY ENGLISH SCHOOL "Still life study with bust and flowers" oil on canvas, unsigned, a still life study with pot and skinned rabbit verso, also unsigned, 76 cm x 50 cm

MID 20TH CENTURY ENGLISH SCHOOL "Still life with oranges and flowers in an egg crock with mirror and bowl on a blanket", oil on canvas, unsigned, 50 cm x 75 cm

FREDERICK ROBERTSON "Autumnal landscape with trees in foreground, hills rising in background", oil on canvas, signed lower right, 26 cm x 45.5 cm and PAM GRAYBURN "Pansies in terracotta pots", a still life study, oil on board, signed lower left, 30 cm x 25 cm

GEORGE HERBERT BUCKINGHAM HOLLAND (1901 - 1987) "Jugs, bowls and raffia covered Chianti bottle" a still life study, oil on board, signed lower right, 50 cm x 60 cm

A large and impressive Coalport vase and cover, early 20th centurywith unusual angular lion's head handles, the cobalt blue ground richly decorated with raised and flat gilt, the large oval panel of a still life of fruit painted by F. Chivers, artist signed, printed factory mark in green, 44cm high (restored)Provenance: Ivor Southorn Collection.Condition:Fully restored.Cover restored, with cracks/old damage still slightly visible to the underside. Numerous body cracks have also been restored, including to the panel and the rim. There is a crack right around one handle (below the lion head). Vase bolted to the socle. Crazing to the glaze visible to the yellow areas of the body. The main restoration to the body has been done very well so it is very difficult to see how bad the original damage is. Please see the additional photos that include some of the interior using a flashlight

A pair of Coalport dishes painted by Frederick Herbert Chiversspecially commissioned for Rt. Honourable Charles James Milnes Gaskell, of oblong form with twin handles and pink grounds highlighted with gilt, the first painted with a still life of yellow and red tulips, with gilt by C.H. Deakin, the second painted dated August 1909, the second with assorted pansies, with gilt by J. Shelley, dated May 19th 1910, both artist signed, each with presentation inscriptions to the reverse together with green printed factory mark and 7580/D in gilt, 32cm wide (2)Provenance: Ivor Southorn Collection. Previously loaned to the Coalport Museum for the 'Coalport at the Court of the Tsar -1996 Bicentenary Exhibition'.Condition:Pansies - on close inspection, this dish has been broken cleanly into two pieces down the centre and restored. The quality of this restoration is good but the crack is still visible when back lit with a torch and the overprinting around the gilt lettering to the reverse is noticable. The gilding and the paint remain in good order. There is glaze crazing.Tulips - good condition with no damages or repairs. Some gilt wear to the shell handles. A few very minor spots of wear to the pink ground. Rings true when tapped. Some very fine glaze crazing.

A Coalport baluster vase and cover, circa 1920sthe deep cobalt and lavish gilt ground painted with a large cartouche of a still life of fruit by Frederick Chivers, signed, the reverse with raised scrolling and foliate decoration, printed factory mark, numbered '7550 / 2nd 234' in gilt, 27.5cm highProvenance: Ivor Southorn Collection.Condition:Fine crazing to the glaze to the cover and the white and yellow body of the vase. No damages or repairs.

Laurence Biddle (1888-1968) Still Life of Pansies, Geraniums and Lobelia, signed and dated '41 lower right, oil on board, 36 x 54 cm, frame 55 x 73 cm, together with handwritten letter (2)Provenance: private Mid Wales collectionInscribed verso 'painted - pansies from W.J.G. Fowley's beautiful garden, Montgomery, Laurence Biddle'. Accompanied by a letter from the artist at Bank House, Montgomery, to Mr J.G. Fowley, dated 1st October 1941. 'Sold together with a letter from the artist: inscribed 'Thank you very much for kindly sending the cheque so promptly this morning. Please find receipt overleaf. I am very sorry to hear Mrs Fowley is unwell this morning and sincerely wish she will quickly recover by resting. I shall be ready to come to hang the picture, as soon as even she is better. Please allow me to thank you again for yours and Mrs Fowley’s kindnesses. Yours Sincerely, Laurence BiddleBank House, Montgomery October 1st '41Received with many thanks from W.J.G. Fowley Esq the sum of £21.00 (twenty guineas) for one of my best flower paintings consisting of special beautiful pansies from W Fowley’s own garden, Geranium and Lobelia and ___ on dark background in special hand made silver frame. October 1st 1941, Laurence Biddle.''I shall be pleased at any time to exchange this painting, or the frame, should it be desired, Lawrence Biddle'

Robert Chailloux (1913-2006) Still Life Study of Apples and Walnuts with a Wicker Basket, signed lower left, oil on canvas 38 x 46 cm, frame 51 x 58.5 cmLabel verso for The Unicorn Gallery