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Four XIX Century West and North Riding Reproduction Maps, a graphite signed colour print of Rotherham after John Rudkin, floral still life, other prints and associated literature.

Joyce Spurr (Sheffield Artist), A Mid Summer Night's Dream', mixed media, 27 x 36cm; 'String Trio', 'Middleton' and 'Yarburgh'; Glaciers, Austria, gouache, signed lower left, 23.5 x 28cm; 'Dordogne Night', acrylic, Still Life, gouache. (7)

Two gilt framed still life paintings

A Royal Worcester cup and saucer painted still life fruit by Ricketts

A Royal Worcester posy vase painted still life fruit by L Maybury, G957, 1954 - 8.5cm

A Royal Worcester spherical posy vase painted still life fruit by E Townsend, G161, 1915 - 6.5cm

Two still life oils on board

Dorothy Colles still life watercolour plus two 19th Century topographical engravings

In the style of Van Gogh, still life of sunflowers, oil on board; a sampler; a carved wooden sculpture and a Bretby model of a cat playing with a ball of string etc (5)

Oil on board still life of three eggs, signed indistinctly H Remington, 16cm x 19cm.

Margaret Harmsworth (French / British, 1928-2007). Studio collection - Still life with cats, oil on canvas, largest 50cm x 61cm (4) Margaret Harmsworth lived as a child in Paris, in England and Tahiti, then in Connecticut, Ohio and New York, before returning, in 1951, to settle in Paris. She produced a number of medals for the Paris Mint: Diana the Blessed, The Pont du Gard, Uzès, The Buzzard and others.Provenance:- Direct from the artist's studio..

Elizabeth Scott Moore, Still life of flowers in a vase, signed watercolour, Date '77, RWS Galleries label verso 74 x 48 cm .

Still life, roses in a vase, oil on panel, 27cm x 22cmA note on the back of the painting states that it was a leaving present to a staff member at the Byam Shaw School of Art in the 1920s,This lot is being sold on behalf of Woking & Sam Beare Hospices .

A pair of framed still life watercolours signed E Chester, and a large hand painted ceramic charger, Dia. 46cm.

Stemple framed oil on canvas still life of flowers, signed bottom right, 59 x 49cm

Keith Vaughan, pen and ink drawing, kitchen still life circa 1950, sheet size 7.75" x 6", unframed.

Elisabeth Murray, watercolour, abstract still life, signed, 9.5" x 11", framed.

Lance Cattermole (1898-1992), oil on canvas, still life working man's lunch, signed, 15" x 14", framed.

Christian Nesvadba (1977-2008), oil on canvas, still life, signed, 31" x 31", framed.

Christa Gaa RWS, (1937-1992), watercolour/gouache, still life violet and red, 8.5" x 12.5", framed, provenance; New Grafton Gallery, London.

Rene Morren (Belgian) oil on canvas, still life statue on a table, 14" x 12", framed.

F Dragan, oil on board, still life plant 1958, 24" x 23", framed.

Early to mid 20th century oil on board, still life vase of flowers, unsigned, 21" x 17", framed.

British School, acrylic on board, abstract still life, unsigned, titled verso, 21" x 20.5", framed.

20th century British School, impressionist still life, unsigned, 11" x 15", framed.

Marion Broom, oil on canvas, still life flowers, signed, 10" x 12", framed.

Giovanni Barbaro, watercolour, still life fruit on a table, signed, 12" x 30", framed.

Original Oil On Canvas Signed S Collins Still life depicting an urn of daisy's in pale blue and green. Housed in original gilt frame, signed by the artist to bottom left

Gino SEVERINI Natura morta a violino, pl. 8 from Europãische Grafik III (1964)Still Life in ViolinLithograph Signed and numbered6/65 1964/6565 x 50 cm(see illustration)

Brenda CARTERStill Life with a Pear Oil on board Signed and dated 1972Inscribed to the back 24 x 31cmTogether with a flower still life by Marion L. BROOM

June MILES Still Life Oil on canvas Signed and dated '88 to the back 49 x 39cm

Alan FURNEAUXCornish Still Life Oil on canvas Signed Further signed, inscribed and dated 2018 to the back 50 x 40cm

Joan MANNING-SANDERSLittle Negress Oil on canvas Signed and dated 193161.5 x 130cmExhibited at the Royal Academy 1931(See illustration)This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.

Joan MANNING-SANDERSDavid and the Globe, 1927Oil on canvas 61 x 61 cmExhibited in the Newlyn Society of Artist's Spring Show 1927This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy. Condition report: There is craquelure all over the painting with some more severe areas, however all the paint is stable. Areas of woodworm mainly to the bottom section of the painting.

Joan MANNING-SANDERSYoung AndrewOil on canvasSigned and dated 1927 51 x 41 cm'Young Andrew' depicts one of the mason's that were working on the granite and thatched house for her family in Esther's Field beside Maria's Lane above Sennen.(See illustration)This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.

Joan MANNING-SANDERSBertha-LouiseOil on canvas Signed and dated 192861.5 x 41 cmThis picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.

Joan MANNING-SANDERSGracieOil on canvasSigned and dated 192782 x 64 cmExhibited Irish Salon, Dublin 1927, New English Exhibition 1927.This picture is part of an important collection by a remarkable individual, who as a teenager was feted by the national media, the art establishment and the foremost artist's community of the day in her home of Cornwall. However, her artistic output lasted barely a decade and she later sank into relative obscurity.An exhibition at Penlee House in 2011 brought her name and her considerable talent to the forefront once again. Joan Manning-Sanders was born to bohemian parents Ruth and George in 1913. Creatively encouraged from an early age, it was Father Bernard Walke of St Hilary and his artist wife Annie, who really recognised her potential and told Joan when she was 11 that she 'must become a painter.' In 1927 at just 13 years old, she had her first painting accepted by the Royal Academy, although not hung in the Summer Exhibition for lack of space. The following year, 'The Brothers' was accepted and became one of the most talked about paintings of the exhibition. She was described as 'a child genius' and fast became a celebrity. In 1929, before her 16th birthday, Joan was elected to the Newlyn Society of Artists, having been proposed by Stanhope Forbes. She had another large work 'The Concertina Players' accepted to the RA Summer Exhibition in 1929 and two works in the Paris Salon. In July of that year, a book dedicated entirely to her work was published, with an introduction and commentary by R H Wilenski, one of the most respected art critics of the day. It was an unprecedented achievement for one so young. Her work was in huge demand and she could hardly keep up with the requests for paintings.Between the ages of 15 and 22 Joan had exhibited seven pictures at the Royal Academy. As she matured Joan had to cope with the high expectations her earlier status as child prodigy had created. She rented a studio in St Ives and then later enrolled in Chelsea Art School. Whilst at Chelsea in the mid 1930s, she met and married fellow student Roderick Floyd. They went to Paris and took a studio, working right up to the invasion in 1940. They fled, leaving their possessions behind in the scramble to escape France. By now, Joan had become a mother, but she continued to paint and took another studio in St Ives until she was called up for war service and went to work in the design department of Gloster Aircraft. It was at this point that Joan's artistic career really started to dwindle. She did not paint during the war, nor after until 1949 when she went to live in Canada. She had hoped to earn a living from portraiture but unfortunately there were not enough residents in Vancouver who wished to be painted. She gave some private art tuition, but this was to be her last involvement in the art world. She returned from Canada in 1958. She spent the rest of her life as an assistant and researcher to her mother Ruth who had become a prodigious writer of children's folklore stories. Ruth celebrated her 100thbirthday in 1988 but died eight weeks later. Joan died in 2002. It is an extraordinary story that a talent that burned so brightly could diminish so quickly. Looking at her work today, it is easy to see the influence of those who advised and encouraged her; Dod and Ernest Procter, Laura Knight, Harold Harvey - all towering figures of this prestigious artists colony. Although Joan was one of their contemporaries she was also still just a child. Her style of figurative painting belonged to the era of these much older artists. She returned to Cornwall in the 1950s, which was a golden era for a new artists colony in St Ives but perhaps, having had her moment in the spotlight, she did not wish to be part of it. Her style of work would hardly have fitted in. She spent the rest of her working life in a creative role and we can assume it was one she found productive and satisfying. Fortunately for us today, we still have some of the fruits of her early fame to admire and enjoy.

June MILES Still Life, Narcissi Oil on canvas Signed to the back 34 x 29cm

Emilie Preyer - Still Life; print on canvas framed. Picture size 46cm x 37cm. NB PLEASE NOTE THERE IS NO VAT ON THE HAMMER PRICE ON THIS LOT

P Bourgogne - Still Life With Fruits; print on canvas in hand coloured frame. Picture size 69cm x 54cm. NB PLEASE NOTE THERE IS NO VAT ON THE HAMMER PRICE ON THIS LOT

Lawrence Mynott (1954- ) British. Still Life of a Lily in a Vase on a Balustrade by a Venetian Canal, Lithograph, Signed and Numbered 99/150 in Pencil, with the 'Ebury' Guild Stamp, 20" x 13".

Keith Henderson (1883-1982) British. A Still Life with a Pot of Flowers and Gardening Tools on a Table, Pastel, Signed, 15.5" x 21.25".

20th Century European School. "Mannequin", Still Life of an Artist's Studio, Oil on Canvas, Inscribed on a label on reverse, 24" x 18".

Tato Svoboda (20th Century) Italian. Still Life with Bowls and Pans on a Table, Oil on Canvas, Signed, 27.5" x 39.25". Provenance: Studio G7, Pontida.

William Jones of Bath (act.c.1764-c.1779) British. Still Life with Fruit on a Ledge, Oil on Canvas, In a Carved Giltwood Frame, 30" x 24.5". Provenance: Lane Fine Art.

Thomas Webster (20th Century) British. Still Life of Flowers in a Wooded Glade, Oil on Canvas, Signed, Unframed, 24" x 20".

Manner of Edwin Steele (1837-1898) British. Still Life of Fruit on a Ledge, Oil on Canvas, Unframed, 20" x 24".

Betty Coveney: Still life of bread, cheese, grapes & wine, oil on canvas, signed on reverse, 15" x 19½", framed; Anne Farquhar: Lily Pond, and a similar picture, watercolours, signed, 13" x 9½" & 13½" x 9½", framed and glazed; P Quinlan: Hawk on a mossy ledge, watercolour, signed, 10½" x 8½", framed and glazed

Robin Tanner (1904 - 1988) - still life of flowers in a jug with window behind with plum tree & church beyond, watercolour, signed, 51cm x 50cm. Provenance: the artist was a friend of the vendors family

TAXIDERMY. A PAIR OF 10 POINT DEER'S ANTLERS MOUNTED ON AN OAK SHIELD AND A STILL LIFE PICTURE OF CHINESE VASES

John Burman, still life study depicting flowers in a bowl, signed oil on canvas, 60cm x 58cm

A pair of still life oil paintings

EUPHEMIE MURATON (1840-1914)A Still Life of Peaches and silver Knifesigned 'Euphemie Muraton' (lower right)oil on canvas10 1/2 x 16 1/2 in (26.7 x 41.9cm)

•DOUGLAS STANNUS GRAY (1890-1959); Still Life of a vase of flowers and a book on a table top, oil on canvas laid down, signed. 20" (51cms) x 17 1/2" (44cms). ARR

TWO MODERN FRAMED AND GLAZED STILL LIFE STUDIES OF FLOWERS TO INCLUDE A PASTEL EXAMPLE

THREE INDISTINCTLY SIGNED STILL LIFE STUDY WATERCOLOURS TOGETHER WITH A RUSSELL FLINT PRINT (4)

A 20th century continental school oil on board painting -  still life study of grames and pewter jug with fruits around, set to table top. Signed illegibly to corner. Framed. Measures 42cms  x 36cms ( frame ) 

Liz Tyler (British Contemporary), still life of vegetables and pottery, oil on board, signed, 50cm by 38cm.

Gilkorn (20th century), still life of grapes and a glass of red wine, oil on board, signed, 29cm by 23cm.

J. Karoly Reinprecht, still life of fruit and porcelain vases, oil on board, signed, 38cm by 28cm.