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EDWARD LADELL (1821-1886); oil on board, still life with fruit, signed lower left, 17 x 24cm, framed.

ROSA APPLETON (1800-1900); watercolour, still life of white roses in a glass vase, signed and dated 1881, 27 x 20cm, framed and glazed, together with an oil on canvas by J. C. Cox, depicting oxen pulling a plough, dated 1910, 23 x 33cm, framed and glazed (2).

Dutch school, still life study unsigned oil on board, 28cm x 22cm contained in a pine frame

A post-War C.B. group of nine awarded to Chaplain of the Fleet the Right Reverend Ambrose Weekes, Royal Navy, later Dean of Gibraltar and Suffragan Bishop in Europe The Most Honourable Order of the Bath, C.B. (Military) Companion’s neck badge, silver-gilt and enamel, with both full and miniature-width neck ribands, in Collingwood, London, case of issue; Defence and War Medals 1939-45; Korea 1950-53, 1st issue (Chaplain A. W. M. Weekes R.N.); U.N. Korea 1950-54, unnamed as issued; Naval General Service 1915-62, 1 clasp, Brunei (Chaplain A. W. M. Weekes. R.N.); General Service 1962-2007, 1 clasp, Borneo (Chaplain Revd. A. W. M. Weekes. R.N.) service officially corrected; Jubilee 1977, unnamed as issued; Malaysia, Federation, Pingat Jasa Malaysia, in case of issue, second to eighth mounted as worn; together with the related miniature awards, the NGS 1915-62 for Brunei inexplicably replaced with a GSM 1918-62 for Brunei, the first eight mounted as worn, the PJM loose in case of issue, contact marks to the Second War pair, otherwise generally good very fine (lot) £1,000-£1,400 --- C.B. London Gazette 13 June 1970. The Right Reverend Ambrose Walter Marcus Weekes was born in Queensborough, Kent, in 1919, and was educated at Sir Joseph Williamson’s Mathematical School, Rochester, and King’s College, London. He was ordained Deacon by the Bishop of Rochester, the Rt. Rev. Christopher Chavasse, O.B.E., M.C. (and the twin brother of Noel Chavasse, V.C. and Bar, M.C.) on 31 May 1942, and Priest the following year, prior to joining the Royal Naval Volunteer Reserve as a Chaplain. He served during the Second World War in H.M.S. Drake and during the Korean War in H.M.S. Triumph and, remaining in the Navy, rose through the ecclesiastical ranks, becoming Chaplain of the Fleet - the most senior Chaplain in the Royal Navy - in 1969. Appointed a Companion of the Order of the Bath in the 1970 Birthday Honours List, Weekes retired from the Royal Navy in 1972, and was offered the Chaplaincy of Tangier in Morocco. The following year, he left Tangier to become Dean of Gibraltar, from which, in 1977, he was consecrated Suffragan Bishop in the newly created Diocese in Europe (the Diocese which was responsible for all of the Anglican Churches in Continental Europe). Over the next nine years he visited every Capital City in Europe (a large number of which were still behind the Iron Curtain), before retiring in 1986, and becoming the priest of the English Church in Montreux. Here his patch was equally large and diverse, and included the ski resorts of Verbier and St. Moritz (the latter a significant distance from the shore of Lake Geneva!). Finally retiring back to London, Weekes spent the last few years of his life undertaking various cruises, usually on the Cunard liner Queen Elizabeth 2, visiting many of the places he had seen during his time in the Navy or as Bishop in Europe. He died in London on 24 April 2012. Sold with the recipient’s pre-1977 riband bar; Chaplain of the Fleet Badge; RN Officiating Chaplain Badge; identity disc; Royal Navy cap badge tally; two Archdeacon of the Royal Navy Certificates, both signed by the Archbishop of Canterbury Michael Ramsey; Freedom of the City of London Certificate; various photographs of H.M.S. Ark Royal; and a copy of the recipient’s memoirs: An Interesting Life, the Memoirs of Rt. Revd. Ambrose W. M. Weekes, CB, QHC, AKC, FKC, RN, which contain many photographs.

A fine Great War ‘Third Battle of the Scarpe’ M.C. group of four awarded to Major A. W. Lavarack, Royal Fusiliers, who was decorated in 1917 for his part in the capture of Oppy, near Arras, commended by the C.O. of the 17th Royal Fusiliers for his ‘suggestions’ and ‘coolness’ during the Battle of Cambrai, and wounded in action during the German Spring Offensive Subsequently appointed Secretary and later President of the English Golf Union, Lavarack selected and accompanied two gifted amateur golfers to Baden Baden Golf Club in Germany in the aftermath of the 1936 Berlin Olympics, successfully masterminding a last-minute victory in the Golfpreis der Nationen Trophy, more commonly known as the ‘Hitler Trophy’ over the much-fancied young German pairing Military Cross, G.V.R., the reverse privately engraved ‘Oppy Village. Major A. Whitley Lavarack. 17th. R.F. June. 1917.’; 1914-15 Star (2. Lieut. A. W. Lavarack. R. Fus.); British War and Victory Medals (Major A. W. Lavarack.) nearly extremely fine (4) £1,400-£1,800 --- M.C. London Gazette 4 June 1917. Arthur Whitley Lavarack was born at Willesden, Middlesex, on 25 December 1883. Given the nickname ‘Tiny’ on account of his 5 foot 2 inch stature, Laverack spent his childhood and teenage years in Hendon and Austria, devoting his time to engineering and invention. Granted a patent in America for a ‘recreative switchback apparatus’ bearing a heavy resemblance to a Cornish wheelhouse of the 1800s, his creativity was only stifled by the outbreak of the Great War. Appointed Second Lieutenant in the Royal Fusiliers on 4 November 1915, he is recorded by author Edward Wyrall as one of the original contingent of the 17th (Service) Battalion. Sent to France on 16 November 1915, Lavarack joined 30 officers and 994 other ranks in the Annezin, and later Cuinchy, sectors. According to Wyrall, life at Cuinchy was pretty miserable: ‘In the front line, water and mud - anything from waist to knee deep - produced a condition almost indescribable. The hours men spent crouching against the walls of the trenches (for to show one’s head meant almost certain death from a sniper’s bullet) were passed in dull agony... shell holes and mine craters frequently overlapped one another, mostly full of stinking water, foul from decaying bodies which still lay beneath the turgid surface.’ Engaged at Guillemont and the Battle of the Somme, it was said that a subaltern’s life in the Royal Fusiliers at this time was worth only about a week’s purchase, so dreadful were the casualties among the officers. At the Battle of the Scarpe on 3-4 May 1917, two ‘fresh’ companies of the 17th Royal Fusiliers moved forward to assist the Canadians, one to Arleux Loop and the other to the old British line west of the loop. Noted as present by Wyrall, Lavarack was awarded the Military Cross. Oppy proved a turning point for the Battalion, for as Wyrall noted: ‘The old Battalion which had landed in France in 1915 was becoming extinct’. The surviving officers were now in command of inexperienced men, with strong leadership being ever more vital. On 30 November 1917, the Germans launched a savage rain of shellfire onto the Bapaume-Cambrai Road. Keen to retake the salient held by the Royal Fusiliers near Vendhuille, prodigious numbers of infantry left their trenches at 9 a.m. and began to swarm around British front line units. Holding back the surging masses of grey-clad figures, Captain W. N. Stone and Lieutenant S. Benzecry were both recommended for the V.C., the former being posthumously awarded the decoration in the London Gazette of 13 February 1918. Wyrall notes that the Commanding Officer of the 17th Battalion was keen to praise others: ‘...to Captain and Adjutant A. W. Lavarack, for the suggestions that he made and the coolness which he maintained which were of invaluable assistance to me, especially as both my signalling and intelligence officers were wounded earlier in the fighting.’ The early days of the Spring Offensive brought further challenges for Lavarack and his comrades. Facing a ‘grey avalanche’ at Miraumont, Courcelette, Le Sars and Loupart Wood, Wyrall notes an onslaught no less in magnitude than that faced by Stone and Benzecry in the Rat’s Tail a few months previously. Wounded in action, Lavarack was fortunate to reach the sanctuary of a casualty clearing station. Returned home at the cessation of hostilities, he then determined to spend the next 40 years enjoying the manicured fairways of the best golf courses up and down the breadth of the British Isles - in somewhat marked contrast to the Western Front. Appointed Paid Secretary to the English Golfing Union in 1934, Lavarack soon found himself meeting the German Führer who was considering a ‘spin off’ spectacle after the Berlin Olympic Games: ‘A difficult interview with Hitler is one of the odder golfing memories of Major A. Whitley Lavarack, who succeeds Mr. Alan Sowden, of Ilkley, as president of the English Golf Union at the Union’s annual meeting in London today. Major Lavarack, who has been secretary of the Union since 1925, spent much of his early life in Austria. When Hitler came to power, there was some talk that he would ban golf in Germany. Herr Heinkel (sic), the then president of the German Golf Union, asked Major Lavarack to use his influence to put over the golfers’ point of view. An interview was arranged. After Major Lavarack had explained the game and extolled its health-giving virtues, Hitler said impatiently: “If I allow my people to play golf it must be arranged that we win everything.” Major Lavarack said diffidently that this was not always possible. Hitler replied sharply: “If we do not win all the time I shall plough up the courses”.’ (Recollections of Major Lavarack, published in the Yorkshire Post and Leeds Mercury, 10 March 1954). It is difficult to understand why mid 1930s Germany held any interest in golf or golf tournaments at all, more so why the Führer would spend his own reichmarks on an amber-laden plate trophy. Germany had no golfing tradition, nor champions, and only around 50 courses. More pointedly, author Alan Fraser in his book The Hitler Trophy notes that ‘Hitler was to golf at that time what Tiger Woods is to painting today’. With time at a premium, the Head of the German Golf Union successfully sourced two talented amateur players, but was unable to convince the I.O.C. to admit golf into the programme for the 1936 Olympic Games. Instead, Karl Henkell arranged what he hoped would be a prestigious addendum, an international tournament that would be close enough in time, if not place, to be recognised as part of the Olympiad; christened Der Grosse Preis der Nationen, the tournament was designed to allow golf to wrap itself around the Olympic flag, offering further spectacle for the top German dignitaries. Emboldened by the success of a pre-Olympic tour of America, Henkell sent invitations to 36 countries inviting them to compete at Baden Baden Golf Club; 28 immediately declined. With an increasing awareness of German clubs expelling Jewish players, Switzerland and Sweden soon followed. This left England under the stewardship of Lavarack as one of the remaining half-dozen to accept, alongside France, Italy, Czechoslovakia, Hungary and the Netherlands. Accompanying Lavarack to Baden Baden were English golfers Tom Thirsk and Arnold Bentley. A seasoned pair, they faced 72 holes of strokeplay with the combined scores of both players determining the winner. From the calm surrounds of his Black Forest digs, Lavarack sent telegrams to his men: ‘Bes...

Peter Collis R.H.A (1929-2012) Still Life with Oranges signed lower right and to verso, oil on canvas, 39.5cm x 50cm

A beaker cup, painted with still life fruit, signed Marie Graves

FOUR OIL PAINTINGS ON CANVAS TO INCLUDE AN ABSTRACT, STILL LIFE OF FLOWERS, ETC

A GILT FRAMED OIL ON BOARD STILL LIFE OF ROSES AND A GILT FRAMED ABRAHAM HULK JUNIOR WATERCOLOUR OF A NORFOLK LANDSCAPE

20th century school, oil on canvas, still life of flowers, 50cm x 60cm, Signed ' L Balogh' to lower right, framed 71.5cm x 81cm.

19th/early 20th century school, oil on canvas, still life, bird's nest with fruit and flowers, 49.5cm x 39.5cm, unsigned, oak frame, 63.5cm x 53.5cm.

20th century school, oil on board, still life of flowers, signed 'A Parkes', framed and glazed, gilt frame.

Four 20th century watercolours; 'Entrance to Low Biggins, Kirby Lonsdale' by Geoffrey H Pooley, river scene signed 'J K Maxton' and two still life studies of flowers signed 'Rose Brennand'.

Bela Balogh (1903-1980), still life of flowers, oil on canvas, 49.5cm x 60cm, signed to lower right, framed, 65cm x 75cm.

Two paintings; a 20th century school oil on board, landscape scene with highland cattle, signed J B Richards together with a watercolour, still life, unsigned.

Jacques Blanchard (1912-1992), oil on board, still life of fruit, 25cm x 20cm, signed to upper right, framed, 39cm x 34.

A CONTINENTAL PORCELAIN PLAQUE, MID-19TH CENTURY the rectangular plaque painted with a floral still life study of flowers in a vase on a marble ledge, monogrammed and dated 1856 verso, framed. Visible plaque 22cm by 18cmGood condition, signs of old labels on reverse, additional photographs attached

20thC School. Floral still life with poppies, oil on board, indistinctly signed, 45cm x 38cm.

A PAIR OF GEM-SET NOVELTY BROOCHES, BY FASANO, CIRCA 1960Composed of two whimsical lions, each openwork gold body with circular-cut emeralds for eyes, brilliant and single-cut diamond muzzle and applied black enamel nose, to polished wirework mane and whiskers, mounted in 18K gold, both signed Fasano, lengths 4.4cm & 3.6cmBorn to a family of cotton manufacturers in Chieri in 1900, Mario Fasano’s undoubted eye for beauty would lead to him opening his first jewellery business, ‘Gioielleria Fasano’, in Turin in 1928. Throughout his work, Fasano adhered to the traditional practices of Parisian jewellers, and, while styles changed, the craftmanship that lay at the heart of their work was honoured by him throughout his life. He married Stella Piovano in 1932 and she was to be his life-long partner in every sense of the term. Together in 1935 they opened their first store in Piazza Castello, the heart of Turin’s lively social scene.As the white gems and platinum of the 1930s gave way to the bold colours and yellow gold of the 1940s and 50s, Fasano’s signature pheasant or ‘Fagiona’ brooch, the emblem of his maison, became a recognisable staple in the world of fine Italian jewellery. As the 50s progressed, Fasano’s and Stella’s attention moved more towards the selection of precious and unusual stones, favouring cabochon cuts and those less traditional cuts. When their son Dario Fasano joined the family business in the 1960s, the older generation drew on his experiences studying abroad to bring a fresher spin on their materials and techniques, such as lava stone and gold/bronze combinations.Fasano Jewellers closed operations in 2013, but their pieces still embody some of the best in mid-century jewellery. Condition Report: Diamonds: bright and lively - estimated clarity VSEmeralds: of bluish-green hue, overall well matched in colourBoth signed FASANO and 750 for 18K goldTotal gross weights: 18.7g & 13.6g

A DIAMOND AND SEED PEARL BROOCH, BY JEAN COMOY, CIRCA 1955Of openwork bow design, centring brilliant-cut diamonds to seed pearl borders with scrolling detailing, mounted in 18K gold and platinum, with maker's mark 'JC' for Jean Comoy, French assay mark, with gold security chain, with maker's case, width 6.4cmJean Comoy was a Lyon-based jeweller whose passion was to make beautiful, and intricate designs. With the help of his family Jean opened his jewellery store in the heart of Lyon, France, around the 1930’s, where he worked for the rest of his life. He trained his two sons, and further on his grandson, Jan-Charles, who would eventually take over the family business.Jan-Charles still recalls when his grandfather would tell him “Don’t think about your future, you will be a jeweller!”. Despite having started working for the family business at a young age, upon finishing school at 16, Jan-Charles officially became a jeweller and was set to work right away under the supervision of his father and uncle.Not much has changed in the company over the past 90 years, Jan-Charles has continued his grandfather’s concept: no store, no window displays, just an atelier that takes appointments and meets with clients directly in the atelier. He prides himself and his family on being “pure artisans”. Most of his clients find out about him by word of mouth. But the rest, he says, are all the grandchildren of his grandfather’s clients. This makes him both happy and nostalgic, as he often finds himself mending or re-designing a piece brought in that was made by his grandfather years prior.His atelier is located on Rue Cuvier in Lyon, as it has been since its opening, over 90 years ago, and where it will remain as the business gets passed down throughout the generations. Condition Report: Normal signs of wear, overall in good conditionClasp secureTotal gross weight approx. 23.10g

AN 18K GOLD 'LOVE' BRACELET, BY ALDO CIPULLO FOR CARTIER, 1970The hinged bangle decorated with screw motifs, in 18K gold, signed Aldo Cipullo Cartier, dated 1970, with maker's case and later screwdriver for opening and closing the bracelet, inner length approximately 16cm, width 6.3mmDesigned in 1969 in NYC, the Cartier Love bangle was the creation of Italian jewellery designer, Aldo Cipullo, who created this piece in 1969. “Love,” said Cipullo, “has become too commercial, but life without love is nothing. What modern people want are love symbols that look semi-permanent — or, at least, require a trick to remove. After all, love symbols should suggest an everlasting quality.”Cipullo was known for his innovative and bold designs. Initially he had proposed the design of the Love Bangle for Tiffany &Co. When Tiffany turned down his concept for the Love bangle, Aldo offered the design to Cartier. At the time, Cartier New York was independent from the Parisian Maison, and under the dynamic direction of Michael Thomas, who immediately saw the massive potential of the Love Bangle to appeal to a new generation with entirely new values, lifestyle, and attitudes.The Love Bangle as a symbol of everlasting love and commitment. The bangle features a simple, sleek design with a screw motif, inspired by medieval chastity belts, and it is meant to be worn as a symbol of love and unity. It is distinctive for its seamless, unbroken design, with a screwdriver needed to open and close it, symbolizing the idea that love is something to be kept safe and protected.As the story goes, the bangles could at first only be purchased by couples who would surrender the screwdrivers to one another. When Cartier introduced the bangle, they were given to high-profile couples like Elizabeth Taylor and Richard Burton. According to Vogue, some NYC hospitals keep a Love bangle screwdriver on hand in case patients need their accessory removed in an emergency. While a Cartier Love Bangle may be easier to remove than a chastity belt, it has still proved enduring, and a smart investment.What makes the Cartier Love Bangle even more intriguing is the way it is meant to be worn. Traditionally, the bangle is given by one partner to another, and it is secured on the wrist with the help of the accompanying screwdriver. Once fastened, it is typically not meant to be removed, symbolizing the permanence of the relationship.The Love Bangle quickly gained popularity among couples, celebrities, and fashion icons. Its iconic design and symbolism resonated with people around the world. The bangle not only became a symbol of love and commitment, but a status symbol as well.   Condition Report: With scratches due to wear - can be repolished for newer lookTotal gross weight approx. 28.30g

T H Jansen,Still life,oil on canvas, signed,59x49cm.

L JOHNSTON STILL LIFE ROSES OIL ON CANVAS 39 X 29CM

End of the 3rd century A.D. A reused tablet with a recessed writing field on side one, containing twenty-one lines in younger Roman cursive script, the lower edge slightly damaged but not affecting the text; side two with a broad flat-bottomed groove (sulcus), originally containing the cord with which the tablets of a legal document were bound together, the cord was fixed with wax, and on the wax the witnesses’ seals were impressed to certify that the document was not opened, since both the wax and the older text had been removed; this tablet had been reused at least once; the tablet shows similar features (material, use of ink, writing style etc.) like several other similar tablets and as far as can be seen, it was part of a private archive of legal documents probably of a family bearing the nomen gentile Iulius and living in the 3rd and 4th century A.D. in the north African province of Byzacena; this unique tablet is the copy (Latin exemplum, see page 1, line 1) of a document regarding the tutorship of Iulius Maianus, who is well known from several other tabulae, he was the son of Iulius Dontiquus, who died in 282 A.D.; in his will (from 281 A.D.) his father appointed as tutors for his son his two paternal uncles Iulius Felix and Iulius Fortunatus, both are mentioned on this tablet, as well as a specialised judge (iudex tutelarius) Iulius Faustus who was involved with the supervision of the tutorship; Iulius Maianus was at that time still a very young child, unable to write himself (sine litteris). Cf. Rothenhöfer, P., Blänsdorf, Jürgen, Sana mente sanaque memoria testa-mentum feci: Eine testamentarische Verfügung vom 12. April 340 n. Chr., Gephyra 13, 2016, pp.153-163; Rothenhöfer, P., Neues zum Testament des Pomponius Maximus aus dem Jahr 371 n. Chr., (forthcoming); see also Masi Doria, C., Dal testamento di Pomponius Maximus: prospettive del diritto ereditario tardo antico, in: Isola, L. (ed.), Klauselgestaltungen in Römischen Testamenten, Berlin, 2022, pp.151-175; also see Thomas, J. D., Vindolanda: The Latin Writing Tablets, Britannia Monograph Series No 4, London, 1983, for examples of wooden tabulae re-used as writing surfaces; for examples of testamentary documents on wooden tablets that have survived, see FIRA III, p.47, for Anthony Silvanus from 142 AD, also see BGU VII 1695 for Safinnius Herminus; for another from Transfynydd, North Wales, see Arch. Camb. 150, pp.143-156; and see Bowman, A.K., Life and letters on the Roman frontier : Vindolanda and its people, London, 1994, for discussion of the uses of Roman writing tablets. Rothenhoefer, P., Neue römische Rechtsdokumente aus dem Byzacena-Archiv / New Roman Legal Documents from the Byzacena Archive, (forthcoming). 110 grams, 24.5 cm (9 5/8 in.).From an important London collection since 1975. Accompanied by a copy of an academic report by Prof. Dr Peter Rothenhoefer. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate no.11957-209850.This extraordinary document contains references to properties of Iulius Maianus, which were to be administered by his tutors. Among other things, auctoritates agrorum (ownership titles over land) are mentioned. The language is typical for Roman legal documents and contains highly developed legal formula which apparently was well known in Roman North Africa. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]

1450-1200 B.C. Cup or bowl of spherical shape, unpainted, fitted with a wishbone handle. Cf. similar cup at the Metropolitan Museum of Art, accession no.74.51.1148, Cesnola collection. 96 grams, 14 cm (5 1/2 in.).Ex P.A., Hertfordshire, UK, specialist collection of Greek art, 1980-1990s.The presence of Achaeans in Cyprus, in late Cypriot II, also significantly influenced the life of the island from a ceramic production point of view. The social changes and new habits that developed among the elites of the main urban centres of the island included elaborate funerary displays, a means through which the emerging elite could express its identity and differentiate itself from other social groups. The ceramic forms were often cups intended for elaborate libation rituals, symposia, or ceremonies equivalent to Near Eastern marzeah, during which drinking services including kraters for mixing wine, cups and jugs were used. Alongside the more elaborate Achaean pottery, local Cypriot pottery (white-slip and base-ring) was still in use. [No Reserve]

Stan Dollins, Still Life with Toy Animals, black and white print, signed artist proof. (42cm x 60cm)This artwork is being sold on behalf of the Plymouth Art Cinema Archive.

T Richards (20th century) : Still life of flowers in a vase, oil on board, 90 cm x 60 cm

Five contemporary still life oil paintings, largest 54 cm x 44 cm

Margaret Adamson : Still life of flowers, watercolour, 40 cm x 30 cm

Margaret Adamson : Still life of flowers, watercolour, 33 cm x 19 cm

Margaret Adamson : Still life of flowers, watercolour, 28 cm x 22 cm

Margaret Adamson : Still life of flowers, watercolour, 33 cm x 24 cm

Danish School : Still life of flowers in a vase, oil on canvas, 53 cm x 41 cm

FRENCH SCHOOL, 20TH CENTURY A still life with pears indistinctly signed lower left, dated 1953, oil on board, 24cm x 33cm

18k gold & enamel medal awarded to Ottorino Barassi on the occasion of Bologna FC's Divisione Nazionale title in 1928-29, the obverse with Olympic Rings and fasces symbol, inscribed FEDERAZIONE ITALIANA GIUOCO CALCIO, the reverse named OTTORINO BARASSI and inscribed 10 AGOSTO 1926 A.IV, 22 GIUGNO 2929, BOLOGNA, diameter 28mm., weight 10gr. Provenance: by family descent The following lots 428 to 460 were awarded to Italian Sports Official Ottorino Barassi. Lots 428 to 460 Ottorino Barassi (1898-1971) Italian football and sports official. Just before the 1966 World Cup in England the Jules Rimet Trophy was stolen whilst on display at the Stampex Exhibition in London’s Westminster Central Hall. Very famously, it was found abandoned in shrubbery by a dog called “Pickles” and after the Final Tie HM The Queen was able to present the World Cup trophy to England’s winning captain Bobby Moore. However, this was not the first time the trophy’s survival was at severe risk. During the Second World War, and with Italy as reigning champions, the Jules Rimet Trophy was in a bank vault in Rome. The city was occupied by the Nazis and the Secretary of the FIGC (Italian F.A.), Ottorino Barassi, had the foresight to hide the Rimet in a shoebox under his bed - fearing that if found the solid 18k trophy would have been requisitioned and destined for the melting pot. His house was indeed searched by the Nazis but they did not discover the hiding place. After that episode, Barassi sent the Cup to Foggia, to some relatives, who managed to keep it hidden until the end of hostilities. It was then returned to FIFA for the 1950 World Cup Tournament, where Barassi himself was called to collaborate with the local organisation committee. After the 1970 World Cup, however, the historic trophy had used all its luck. It was stolen again in Brazil, has never been recovered to this day, and is presumed to have been melted down for bullion. Ottorino Barassi had first come to the attention of the football world in 1934 with a highly prominent position organising the World Cup tournament held in his homeland of Italy. Before this Barassi had trained as an electronics engineer and it was while studying this in Cremona that his life-long passion for football was ignited. Having played, he then refereed at regional level before becoming the football correspondent for “La Provincia di Cremona.” Hence forth he entered sports administration. In 1925 he was elected Vice-President of the AIA (Italian Referees’ Association), from 1930 to 1932 he was President of the Italian Rugby Federation, and the following year he joined the FIGC (Italian F.A.) appointed by General Giorgio Vaccaro for the role of Secretary of the Federal Directory, specifically with the task of managing the organisation of the 1934 World Cup.   As a prominent official of the FIGC he initiated a series of reforms (“Lodo Barassi") to streamline and bring about a properly organised structure to the Italian football pyramid at all levels and in all regions of Italy. After the fall of the Regime and the reconstitution of democratic institutions, even sport, despite a war still ongoing in the country, began to organise its activity again. On 4 December 1944 Giulio Onesti, President of CONI (Italian National Olympic Committee) appointed Ottorino Barassi as Regent of the FIGC; and on 15th May 1946 the Assembly elected Barassi as Presidente  - a position he was to hold for 12 years. Barassi was also very active at international level and in 1952 he became a member of the FIFA Executive Committee. From that moment he began working to establish a European football governing body. On the initiative of the Italian, French and Belgian federations, UEFA was founded on 15 June 1954 in Basel with 25 national federations becoming affiliated. The Organisation set up its headquarters in Paris where it would remain until 1959, then moving to Bern. Barassi was also responsible for the new headquarters of the FIGC in Rome in Via Gregorio Allegri. After demolishing a residential villa, in 1952 work began on the construction of the six-storey building which, four years later, would be inaugurated. It has always been the case in sport that it is a results-driven business. Despite his tremendous contribution to Italian football and sport, Barassi paid a heavy personal price when the Italian national team was beaten 2-1 by Northern Ireland in Belfast on 15th January 1958. This result meant that Italy failed to qualify for the 1958 World Cup Finals in Sweden. Barassi, however, did not quit the game in Italy and decided to return to football by running for President of the newly formed National Amateur League. He was elected and remained in the role until his death in 1971. The Barassi Cup, an Anglo-Italian amateur football tournament (1968 – 1976) was to bear his name. He also developed amateur tournaments at Regional and Junior levels. In 2011 Ottorino Barassi was posthumously inducted into the Italian Football Hall of Fame. Ottorino Barassi's granddaughter, his only living relative, remarks "In regards to him football was his life. His inclusion in the Hall of Fame is richly deserved for dedication, especially as his early career was in challenging circumstances during the Fascismo reign and the Second World War. Although he officiated at the highest levels of the sport with FIFA and FIGC, he never lost his passion for football at its grass roots. I know he was immensely proud of the work he did in Italy at amateur, youth and regional levels of the game. Completely impartial to all, he always did what he thought was best for football."

A 20th century oil on board floral still life. Signed 'K Jones', 44cm x 34cm, framed

ANNA CHEREDNICHENKO (1917-2003)“STILL LIFE WITH FRUITS” 1950OIL ON CANVAS, 69CM X 98CM

ROMAN PODOBEDOV (1920-2003)“STILL LIFE WITH LILAC” 1962OIL ON CANVAS, 99CM X 69CM

A 19TH CENTURY OIL ON CANVAS PAINTING STILL LIFE OF VEGETABLES, Including marrows, tomatoes and other vegetables. For restoration.46cm x 36cm

A MODERN STILL LIFE PAINTING, acrylic on canvas, signed 'MN' (lower right), framed and glazed, 31cm h x 25.5cm w (unframed) and 43cm h x 37cm w (framed)

DERRICK GREAVES (1927-2002) Untitled aquatint of a still life on an easel, with a red background. Signed in pencil and dated 1984, numbered edition 73/75.

DERRICK GREAVES (1927-2002),Untitled aquatint of a still life on an easel, with a red background. Signed in pencil and dated 1984, numbered edition 69/75, 69cm h x 76.5cm w

A gilt framed oil, still life study of flowers

D L Briggs, a collection of oil paintings, still life studies of flowers

A watercolour still life study together with a multi picture; a framed and glazed poster P Horst

J Renstedt, oil on canvas still life study contained in gilt frame

Cate, oil on board still life study contained in gilt frame

GERALD PAUL STINSKI (AMERICAN, 1929-2015), oil on board, still life, framed. 11.5cm high, 30cm wide.

UNATTRIBUTED; decorative oil on board, still life with flowers, 59 x 44cm, framed, and a large oil on canvas of an interior scene, framed.

A SMALL QUANTITY OF PAINTINGS AND PRINTS, to include an indistinctly signed oil on canvas landscape, approximate size 60cm x 90cm, three smaller oil on canvas river landscapes, approximate sizes 20cm x 24cm, a Robert Cox still life study of flowers in a vase, approximate size 50cm x 60cm, reproduction maps etc (1 box + loose)

William Hough (1819-1897), watercolour, Still life of fruit, signed, 14 x 18cm

Rosa Appleton (1800-1900) oil on canvas, Still life of grapes and roses, signed, 34 x 24cm

Charles Clement Perron (French, 1893-1958), oil on canvas, Still life of flowers in a vase, inscribed label verso, 23 x 18cm

* * Oliver Clare (1853-1927), oil on canvas, 'Still life with grapes, apples and gooseberries', signed, ornate gilt framed, 17 x 24cms Please note this lot attracts an additional import tax of 5% on the hammer price

* * Oliver Clare (1853-1927), oil on canvas, ‘’Still life with a Robins nest and apple blossom’’, signed, 14.5 x 23cm Please note this lot attracts an additional import tax of 5% on the hammer price

Various gilt framed watercolours, prints and oil on boards, harbour scenes by Dennis Dent, river scenes by Peter Knights, Marion Cox still life, etc.

20th Century British School, oil on canvas, A still life study, fruit and flowers on a turquoise table cloth, signed indistinctly to the lower left, framed, 45cm x 53cm, & 56cm x 66cm overall

After Jo Barry (20th Century, British), coloured print, 'Drowsed with the Fume of Poppies', signed to the lower right, limited edition 49/150, measuring 20cm x 20cm, & 36cm x 36cm overall, together with two decorative and contemporary paintings of still life arrangements, signed Becky Monks (20th Century)

SIDE CABINET, 125cm high, 80cm, wide, 40cm deep, black lacquered with floral still life decoration to doors, the two doors enclosing fitted shelves, splayed legs.

Pegwell Bay, Still Life Game (35) Hauling in the Trawl (53) and Landing the Catch (55) (3) (Prattware, pot lid, potlid, Staffordshire)