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Maxwell Ashby Armfield (British, 1882-1972), still life of an apple, signed with monogram and dated 1956 l.r., watercolour and pencil, 16 by 15cm, framed. Note: Artist Resale Rights apply

Walter Harold Austin (Royal Worcester artist) (British, 1891-1971), still life of apples and blackberries on a mossy bank, signed and dated 1932 l.r., watercolour, 26 by 33cm, gilt frame

Stefan Nowacki for Lynton, a floral painted pedestal vase and cover, ovoid form, decorated with a Dutch styel still life study of a basket of flowers, within a raised and tooled gilded cartouche and pink marbled ground, gilded angular handles, stepped circluar spreading foot, 50 cm tall

Geoffrey Robinson (British, 1945), 'Seaside Still Life', titled verso, acrylic and charcoal on board, 40 by 50cm, framed. Note: Artist Resale Rights apply

Stefan Nowacki for Lynton, a handpainted coffee can and saucer, cylindrical form, decorated with a still life study of seashells and coral on marble plinth within glazed marbled ground, signed, 13.5cm diameter (saucer)

Leaman for Royal Worcester, a set of three fruit painted plates, each with a central still life roundel of peaches, apples and blackberries, within raised gilt foliate scroll and blue ground borders, gilt marks, 27cm diameter (3)

George Hooper (British, 1910-1994), still life of lilies in a vase and apples on a table, signed and dated 1942 l.l., watercolour, 58 by 40cm, framed. Note: Artist Resale Rights apply

Thomas Charles Bale (British, 1845/49-1925), still life of dead game and fruit in a barn, a pair, one signed with monogram and dated 1891 l.l., oil on canvas, 29 by 24cm, gilt frames (2)

Stefan Nowacki for Lynton, a circular handpainted charger, decorated with a central flower head cartouche enclosing a still life study of a lyre, flute and musical score, within a raised and tooled foliate gilt border with ogee painted cartouche within an apple and dark green ground with turqouise and white enamelled jewelling, signed, 43cm diameter

Stefan Nowacki for Lynton, a floral painted teapot and cover, cylindrical form, decorated with a still life study of a basket of summer flowers on marbled plinth, within jewelled square chamfered border, the celadon glazed ground with raised gilt seaweed decoration, signed, 13cm high

John Edwards (British, 1938-2009), cubist still life of bottle, jug etc, pencil on paper, 68 by 48cm, framed. Note: Artist Resale Rights apply

JOHN S. CLARKE, STILL LIFE OF FLOWERS watercolour, along with two other watercolourseach mounted, framed and under glass63cm x 56cmQty: 3

A MASON, STILL LIFE watercolour, along with three framed pictures and a ceramic plaquestill life 50cm x 63cm Qty: 5

HUGH HINSHELWOOD, STILL LIFE OF FLOWERS IN A VASE oil on board, signed framedoverall 67cm x 52cm Condition is good overall.

HUGH HINSHELWOOD, STILL LIFE OF FLOWERS watercolour, signedmounted, framed and under glassoverall 41cm x 32cm

ELIZABETH JANE LLOYD (BRITISH 1928-1995), STILL LIFE OF FLOWERS watercolour, signed and dated 1980mounted, framed and under glassoverall 67cm x 59cm

A W THOMSON, STILL LIFE, WHITE AMARYLIS IN A GLASS VASE, oil on board, along with an etching of a castle, and a signed print of a Formula 1 careach signed 64cm x 48cmQty: 3

Sir Roger Moore (British, 1927-2017)A personal portfolio of original drawings, sketches and studiesComprising a large quantity of artworks on paper by Sir Roger in pencil, pen, colour and ink, some signed and dated, the subjects depicted including portraits, figures, architecture and still life, the majority loose with two bound sketchbooks, together in a large green folio, the largest: 51 x 40.5cm (20 1/16 x 15 15/16in) (qty)Footnotes:As one of the most prolifically represented actors of his day, especially in photography, the present Lot provides an interesting and deeply personal insight into Sir Roger as an artist. Some of the subjects of his drawings and watercolours include close family and friends. With several signed by Moore and dated to the mid-1960s, the artworks provide a snapshot into his creative process at a time his popularity through film and television projects was on a rapid upward trajectory.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 black and white film still of Sir Roger Moore with David Niven, Gregory Peck and Trevor Howard1980From the Paramount Production The Sea Wolves, taken in front of the Calcutta Light House, framed, 20cm x 25.5cm (8in x 10in)Footnotes:Sir Roger Moore was cast as Captain Gavin Stewart in the production, which was based on the real-life Colonel Gavin Stewart. The film was based on the 1978 book Boarding Party by James Leasor, which documented the true story of a covert mission to sink a German merchant ship during World War II.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

N BurnettA Mountainous landscape with blossom in the foregroundWatercolourSignedTogether with a watercolour of Jonston Canyon in the Canadian Rockies by Martin Harvey, a Peter Challen watercolour of the Saxon Churchyard, Alton Barnes, a print of a still life of fruit, a J Templeton oil painting of a boy and his dog, two tapestry pictures of flowers and a Cornelius Pearson Watercolour of a coastal scene

A GEORGE I OAK BOOKCASE POSSIBLY BY THOMAS RIPLEY CIRCA 1725 The fabric lined glazed doors enclosing adjustable shelves, the panelled doors enclosing drawers with gilt metal ring handles and handwritten ink labels 'Leases...Cottage Agreements... Farm Agreements...Papers relating to the leasehold lands under Christ Church...', inscribed in paint twice to the back 'RW' 270cm high, 198cm wide, 62cm deep Provenance: Almost certainly supplied to Sir Robert Walpole, later 1st Earl of Orford (1676-1745) or his son, Robert, 2nd Earl of Orford (1700-1751) for Houghton Hall, Norfolk and by descent at Houghton. Property of the Marquess of Cholmondeley, Houghton Hall, Norfolk, Christie's, London, Important English Furniture and Carpets, 24 November 2005, lot 29, where purchased by Robert Kime. Literature: G. Nares, 'Wolterton Hall, Norfolk - II: The Home of Lord Walpole', Country Life, 25 July 1957, pp. 166-169. A. Bowett, 'Thomas Ripley and the Use of Early Mahogany', The Georgian Group Journal, 1997, pp. 140-145. A. Moore, E. Bottoms, 'A New Walpole Discovery', The Burlington Magazine, January 2006, pp. 34-37. ed. T. Murdoch, Noble Households: Eighteenth-Century Inventories of Great English Houses, Cambridge, 2006. In 1722 building commenced of Houghton Hall for Sir Robert Walpole, Britain's first Prime Minister. From 1725 William Kent decorated the interior and designed furniture for the state rooms. This bookcase is probably the 'wainscot bookcase with plate glass doors' recorded at Houghton Hall in 1792 in room 'No. 86 Stewards office' (Murdoch, p. 198). In 1722, building on Houghton began for Sir Robert Walpole, 1st Earl of Orford (1676-1745), Britain's first Prime Minister. From 1725, the Palladian architect and designer, William Kent (c. 1685-1745), was employed to design the interiors and furniture of the state rooms. However, this bookcase was possibly designed by Thomas Ripley, who prior to becoming an architect and Surveyor in the Royal Office of Works trained as a carpenter. Ripley acted as building supervisor at Houghton, and from 1727, designed Wolterton Hall, Norfolk, and in the 1730s, a house in the Cockpit, Whitehall, for Walpole. Ripley used mahogany extensively for the interior wainscotting, doors, door-cases and stairs at Houghton, all of which were heavily carved and richly detailed (Bowett, p. 142). The use of mahogany on such a scale suggests that in the early years mahogany was considered suitable for joinery being no more costly than wainscot. Walpole's mahogany was shipped from Jamaica to King's Lynn via London from mid-1724, and it was Ripley who organised the freight, lighterage (transferring cargo between vessels of different sizes) and storage for the shipments. After the 1720s, the fashion for mahogany as a furniture wood superseded its employment as architectural joinery. The Houghton archives show that after the initial phase of building was completed, Ripley was paid the substantial sum of £500; this probably included payment for further alterations to the house and stable block and the designing of the church tower (PRO C101/19). As the payment is not itemised, presumably it may have also included furniture. Certainly, Ripley's correspondence in the Wolterton archive shows he was responsible for the hanging of the pictures, and possibly designed frames for the royal portraits there suggesting he may have designed furniture as well (Nares, p. 166). Condition Report: Overall there are scratches, marks, knocks, cracks and abrasions consistent with age and use.There are some losses, restorations and observations including:There are some chips, splits and loose sections of wood in particular to some corner and edge sections, and to the bracket feetSome sections are missing, for example the lower border beneath the wood panelled doors, and some other elements are later, for example the side moulding between the top and the base.There are traces of white paint, presumably from when the room this bookcase was in was painted.There is some evidence of worm.Three of the shelves are later pine replacements, all shelves have a front moulding and two shelves to the glazed section have metal hinged latches to hold fast the doors.One of the backboards has a circular hole cut to it, possibly for an electric cable.The interior oak drawers have oak linings and gilt brass ring handles, one of the rings is missing. Each drawer front has a pale filled hole to each corner which is probably original filler over the nail or peg construction of the drawers.Lacking some original handles to the glazed doors. There are two keys for the glazed doors, one of which turns one of the locks. The locks to the glazed doors are Georgian but later to this bookcase cast with the maker's name 'PATENT UNION LOCK / ROBT. KEMP PATENT / G.R. under a coronet / R&T FARMER / PROPRIETORS AND MANUFACTURERS ' Lacking three handles to the panelled doors, there are no keys for the lower door locks, and there are filled holes from previous fittings.The brass hinges are of notable quality, they are substantial, have chamfered edges, are wide opening and have an extra outset section that is inset into the doors.The glazed doors have almost imperceptibly bevel cut glass, the subtle almost slightly rounded cuts, rather than sharp angular bevelled edges. The green fabric is a chintz or glazed cotton of almost paper like quality, still with distinct folds where the fabric has been previously folded. It has faded, in some places, to an almost golden colour, with some splashed fading. The fabric has some repairs including later sewn tape to the base of one door and another, possibly original, inset sectionThe cut of the oak whether dark or pale displays exceptional medullary rays.Please see the additional condition report photographs as a visual reference of condition. Condition Report Disclaimer

GLYN WARREN PHILPOT (BRITISH 1884-1937) JAR Oil on canvas Signed with initials (lower right) 61 x 51cm (24 x 20 in.)Provenance: Gabrielle Cross, the artist's niece The Leicester Galleries, London Sotheby's, London, 3 March 1999, lot 88, where purchased by Robert Kime Exhibited: London, Leicester Galleries, An Exhibition of Recent Paintings by Glyn Philpot, February 1934, no. 48 Brighton, Brighton Museum & Art Gallery, Glyn Philpot, R.A., 1884-1937, April-May 1953, no. 21 London, Leighton House, and toured by the Art Exhibitions Bureau, Paintings, Drawings and Sculpture by Glyn Warren Philpot R.A., 1884-1937, 1959 Worthing, Worthing Art Gallery, Glyn Philpot, An Exhibition of Paintings and Drawings, 1962, no. 40 Having painted primarily commissioned portraits and classical scenes, still life was a new genre within Philpot's oeuvre. His previous exhibition in 1932 featuring just one still life. The choice of subject matter was essentially a move towards paintings that would be 'sellable' and hence his close involvement with various prominent 1930s interior decorators such as Syrie Maugham.Given the subject, it seems likely that this was painted during, or following, his trip to Morocco with Oliver Messel in September to October 1933, where he was joined by Vivian Forbes. Philpot sometimes created watercolours in situ and then subsequently painted an oil, although there is no evidence of a corresponding study. A fair proportion of Philipot's still lives were painted in the studio at Baynards Manor in Sussex. We are grateful to Simon Martin, Director of Pallant House Gallery, Chichester, for his kind assistance in cataloguing this work. Condition Report: Canvas is slightly loose to the stretcher. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

λ&nbspVANESSA BELL (BRITISH 1879-1961) STILL LIFE OF NARCISSI, CHARLESTON Oil on canvas Indistinctly signed with initials and inscribed (verso) 38 x 25cm (14¾ x 9¾ in.)With thanks to Gavin Kingcome Photography for providing the photograph of Vanessa Bell & Duncan Grant's studio at Charleston Farmhouse in East Sussex which shows the floral decorated teapot still sitting on the mantlepiece today. Provenance: The Adams Gallery, London Sotheby's, London, 6 November 2007, lot 30, where purchased by Robert KimeThe present work was most likely painted in the early 1950s in Grant's studio at Charleston, the vase being on the high mantelshelf (where it can still be seen today in the same position, now with reduced spout). Pheasant-eye narcissi were a favourite of Bell's.We are grateful to Richard Shone for his kind assistance in cataloguing this work. Condition Report: Not relined. Light horizontal cracking across the surface most notable to the upper left quadrant. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

WILLIAM NICHOLSON (BRITISH 1872-1949) FELLS, AMBLESIDE Oil on panel Signed with monogram (lower left) 35 x 46cm (13¾ x 18 in.)Painted in 1942. Provenance: The Leicester Galleries, London Roland Browse & Delbanco, London, purchased in 1945 Private Collection, Dr. Gustav Delbanco Christie's, London, Property from the Estate of the late Dr. Gustav Delbanco, 27 November 1997, lot 97, where purchased by Robert KimeExhibited: London, Leicester Galleries, Paintings by Sir William Nicholson, 1943, No. 47 London, Roland Browse & Delbanco, Paintings by Sir William Nicholson, 1945, No. 22 London, Roland Browse & Delbanco, William Nicholson Centenary Exhibition, 27 April - 27 May 1972, No. 29 Aldeburgh, Aldeburgh Festival Exhibition, William Nicholson Centenary Exhibition, 2 - 19 June 1972, No. 29 London, Roland Browse & Delbanco, William Nicholson 1872-1949, 1990, no. 32Literature: Lillian Browse, William Nicholson, London, 1956, no. 465, pl. 36 (dated to c. 1935) Patricia Reed, William Nicholson, Catalogue Raisonne of the Oil Paintings, Modern Art Press, Yale University Press, 2011, p. 632, no. 861, illus. Captivated by the pristine charm of the British countryside and driven by an unwavering passion for landscape painting, William Nicholson crafted a remarkable body of work that echoes his deep-rooted connection to nature. His desire to be immersed within the countryside became reality when Nicholson and his wife Mabel Pryde purchased the old vicarage in Rottingdean, near Brighton. The series of works influenced by this location during the 1920s and mid-1930s was referred to as his 'downs period' where Nicholson focused his attention to the beauty and serenity of the hilly, chalk grasslands on the South Downs. This move towards landscape painting marked a departure from his exploration of still life and portraiture. Nicholson's renowned "downland series" stands as a testament to his ability to portray the changing seasons, moods, and colours of the rural landscapes with timeless artistry. "The Fells, Ambleside," painted around 1942 is from a slightly later date and yet it still captures the same essence of Nicholson's 'downland series' illustrating the rolling hills of Ambleside in Cumbria as he draws the viewer's eye deep into the landscape. The work is believed to have been painted in either May or June when Nicholson was invited to act as the external assessor for the Royal College of Art students, who now resided in Ambleside after being evacuated in 1940. The dry-stone walling curves through the landscape splitting the scene in two. The stone quarry and patchwork of hills on one side with a vast open landscape with sheep grazing on the other. Nicholson has used sgraffito technique to mark out the grass and the texture of the walls. A key figure in Nicholson's life was his dear friend and brother-in-law James Pryde, whose work is also featured in Robert Kime's collection (Lot x & x). As struggling artists in the 1890s, Pryde and Nicholson saw an opportunity to explore the poster market and its growing popularity. The pair joined together to create an artistic partnership they coined 'the Brothers Beggarstaff.' The pair experimented with collage, silhouettes and simplistic forms provided innovative and revolutionary ideas of marketing. Their work, proving too 'avant-garde', pushed them both back to their traditional artistic journeys. However, Nicholson saw an opportunity to experiment with print-making and went on to produce extremely popular series titled 'An Alphabet', 'An Almanac of Sports' and 'London Types' under the publisher William Heinemann. Condition Report: Light surface dirt throughout. Inspection under UV reveals no obvious evidence of restoration or repair. Condition Report Disclaimer

A WILLIAM & MARY OAK GLAZED 'PEPYS' BOOKCASE OR CABINET LATE 17TH CENTURY The interior with adjustable shelves 213cm high, 107.5cm wide, 40cm deep Literature: O.F. Morshead, 'The Colleges of Oxford and Cambridge: Magdalene College, Cambridge. II - The Pepys Library', Country Life, 3 March 1928, pp. 300-308. A. Oswald, 'Ludstone Hall, Shropshire - III: The home of Mr. and Mrs. M.H. Rollason', Country Life, 25 January 1952, pp. 222-225. K-M Walton, 'An Inventory of 1710 from Dyrham Park', Furniture History, 1986, pp. 25-80. K. Loveman, 'Books and Sociability: the case of Samuel Pepys's Library', The Review of English Studies, April 2010, pp. 214-233. This bookcase or cabinet is part of a select group of late 17th century tall glaze-fronted case-furniture, the most important of which is twelve, carved and stained oak bookcases (book-presses) with glass panes, supplied in August 1666 by the London joiner, Thomas Sympson (Simpson, fl. 1662-92), to the celebrated diarist and naval administrator, Samuel Pepys (1633-1703), for his house at York Buildings, Buckingham Street, London (BIFMO). On 23 July 1666, Pepys first records the engagement of Sympson the 'joyner' in his diary: 'Up and to my chamber doing several things there of moment, and then comes Sympson the joyner; and he and I with great pains contriving presses to put my books up in, they now growing numerous and lying one upon another upon my chairs' (Morshead, p. 302). The design, with its architectural features, is geometrically based and the glazing was inspired by the sash window which was introduced in England and Holland around this time. Pepys later bequeathed the bookcases and his important collection of 3,000 books to the library of Magdalene college, Cambridge. The library building was begun in about 1640 but not completed until the end of the century. Funds were raised through subscription with Pepys contributing £60, and other subscribers included the Masters of six of the Cambridge colleges including the mathematician, physicist and astronomer, Sir Isaac Newton FRS (1643-1727). The Pepys bookcases are still in situ; eight line the walls of the library, and four stand back-to-back in the centre of the room. Another pair of related carved oak bookcases was made for the library at Dyrham Park, Gloucestershire, commissioned by William Blathwayt (1649-1717), and described in the 1710 house inventory as: '2 Glass Presses wth Books' (BIFMO). Blathwayt was a friend and colleague of Pepys, as was his uncle, Thomas Povey, whose closet Pepys had admired in the 1660s. Blathwayt probably paid visits to York Buildings and subsequently had glazed bookcases similar to Pepys' made, possibly also by Sympson (Loveman, p. 222). Another possible maker of the Dyrham Park bookcases might be the London joiner, Thomas Hunter of the Angel, Piccadilly, who supplied much of the fine interior woodwork at Dyrham. One of the Dyrham bookcases survives in the Great Hall at Dyrham and its pair is in the Victoria and Albert Museum (NT 452939; Walton, p. 42; W.12:1 to 11-1927). A further carved oak bookcase, formerly at Cuckfield Park, Sussex, was illustrated in Country Life in 1931 (21 November 1931). Charles Sergison purchased Cuckfield Park in 1691. He knew Pepys and his younger brother John through his service to the crown as a dockyard clerk in 1671, and four years later, as clerk to the Clerk of the Acts, whose office was then held jointly by Thomas Hayles and John Pepys (ibid.). Other examples include one formerly at Kingston Lisle, Berkshire (later at Ludstone Hall, Shropshire), photographed by Country Life in 1952 (Oswald, p. 225, fig. 10); and another by repute at Penshurst Place, Kent (ibid., p. 224). While the bookcase offered here is plainer than the preceding examples, it too has been applied with a timber stain presumably to make the oak resemble what was then more expensive walnut or mahogany. Please note: the contents of the cabinet are not included in the sale of this lot Condition Report: Overall with marks, knocks, scratches, abrasions consistent with age and useThere are some quirks in the construction, this may be a sign of adaption or may be a quirk by the cabinet maker - the lateral bars to the doors have visible ends poking through the uprights, these have been cut to create the over-lap to the doors.The glazing has later putty and filler to secure, one glass panel with old crack and split throughThe shelves are certainly laterThe feet probably of the period but with repaired lower sections (the original bases probably lost due to rot),Another quirk is that there are scored lines to the left side roughly where the shelves align, the right side with old vacant nail holes - the purpose of these is unknown.The cornice is almost certainly later overall, there are later blocks to secure it to the top of the cabinet, there are various tacks and nails holding this in all place - the colour is quite dark in this area and appears to have been coloured to match the remaining cabinet (which as the footnote states is probably deliberate)Please see additional images for visual reference to condition Condition Report Disclaimer

Joyce Parfitt (Bn.1939)Still Life, Decanters, Glass and Fruitsigned, oil on board, 45cm x 60cm

Marie Graves, Still life study - Apples and Blackberries, signed, watercolour, 13cm x 18cm oval.

A Coalport low oval dessert dish, of twin-handled form, dated 1918, painted with a still life of fruit by Fred Howard, artist signed, broad pale yellow and raised gilt border, printed factory mark in green, impressed date cypher, 27.5cm wide; sold together with a further pair of low dessert dishes, printed and hand-coloured with floral swags, 27cm wide (3)Provenance: Ivor Southorn Collection.Condition:Fruit dish - Crack to the underside, short hairlines near the underside of the rim and one small underside rim chip to the handle. Still rings when tapped.Floral cobalt dishes - 1 heavily crazed.

A Royal Worcester cabinet plate, late 20th century, painted with still life of fruit by J. Bowman, artist signed, printed factory mark in black, 25.5cm diameterCondition:Good condition with no damage or restoration.

SUSAN DUFF (SCOTTISH SCHOOL) STILL LIFE WITH HYDRANGEAS Oil on canvas, signed lower right, 50 x 40cm Condition Report:Available upon request

ANNA SHEARD (SCOTTISH CONTEMPORARY) FOUR SQUARES AND 26 CIRCLES Print multiple, signed lower right, numbered 1/5, 29 x 39cm Together with a still life drawing, signed 'Anne' (2) Condition Report:Available upon request

AFTER MARLOW; colour lithograph, still life of lilies, delphiniums and foxgloves in a Chinese blue and white bowl, framed and glazed, 52 x 70cm.

† ERIK W. GLEAVE (1916-1995); two oils on board, still life with fruit, both signed lower left, framed, 'Cherries', 16 x 22cm, and 'Peaches', 19 x 30cm (2).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.org

† GWILYM PRITCHARD (Welsh, 1931-2015); oil on canvas, 'Cyclamen and Candlestick', still life study, signed lower left, signed and titled verso, 49.5 x 39.5cm, framed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgOverall good condition, showing no obvious signs of faults, damage or restoration. Frame slightly marked

LOU SLATER; six watercolours still life, 'An Opening', 'Precious Fruits', 'Philodendron', 'Pears and Peaches', 'Shell and Leaves', and 'Desert Sea and Sky', various sizes, all framed and glazed (6).

Ida Calzolari born 1936, a still life study of a bowl of mixed fruit on a table, oil on copper, signed in a painted decorative frame, 24cm x 30cm 

French school, circa 1920, still life study of peaches and roses on a silver platter, unsigned oil on canvas, 64cm x 51cm in gilt frame 

W. Penk, still life of fruit and flowers on a table top, oil on canvas signed and dated 1912, 30cm x 60cm in gilt frame 

A MASSIVE REGENCY ENGLISH PORCELAIN VASEPOSSIBLY DERBY, EARLY 19TH CENTURYthe ovoid body painted with a still life of garden flowers including roses, peonys, tulips, dahlias and delphiniums on a ledge, the reverse with gilt floral swags, scrolls, urns and baskets of flowers with leaf and serpent handles56.2cm highProvenanceKenneth Neame: An Enduring Legacy.PLEASE NOTE THIS LOT IS TO BE OFFERED WITHOUT RESERVE.

A REGENCY TÔLE PEINTE INKSTAND EARLY 19TH CENTURYof rectangular form, the hinged cover decorated with a still life of taxidermy birds and an inkwell on a table beside a planter of lilies, the interior with two glass-lined tôle peinte inkwells, on four ball feet 5.6cm high, 20.4cm wide, 13.5cm deep

Carol Maddison, an impasto oil on board, still life fruit and cheese, 47cm x 56cm overall, framed

Three paintings; two still life paintings of fruit and flowers and one titled 'Industrial Wigan' signed Ian W Green.

A 20th century school, oil on canvas, still life of flowers, gilt frame, together with a print of a ship in full sale.

Jerzy Faczynski (b.1917), Polish 20th century school, still life study of items on a chair, oil on board, signed 'FACZYNSKI' to lower left, framed, 35.5cm x 66.5cm overall. Condition: some slight damage/losses of paint.

C R Twells (early 20thC School). Still life depicting fruit, oil on canvas, signed and dated 1906, 23cm x 33cm.

R. Waddams (20thC School). Floral still life, oil on canvas, signed, 40cm x 49cm, together with a similar example, signed Plant, 44cm x 60cm.

Oil on Canvas, Floral still life, 29cm x 23.5cm, signed indistinctly lower right, in carved wooden frame; and oil on canvas in gilt frame Jacqueline Carden, Chilterns in the Autumn, initialled lower left, 29 x 24cm

Sir Terry Frost framed print "Laced Three", 54cm x 26 cm, (purchased by vendor May 2009 from Stoneman Graphics Gallery £1,300); and a framed and glazed a amusing tennis picture, 41 x 28.5, signed lower right in pencil C farmed, and titled "Anyone for Tennis"? Numbered 2/50; and two other another contemporary abstract pictures, and Sue Kavanah 1987 water colour of still life in a conservatory

A quantity of pictures to include an Swiss snow scene, verso "Switzerland near Champney", and a framed and glazed pastel of a village scene, indistinctly signed in pencil and dated 1975 ; and a large blue art folder containing 10 still life water colours, landscapes, nudes, engravings, a singed George Holford, etc, see images for details

Manders, Frans (1939-) "Flower still life", circa 2009, signed in full lower left, oil paint/board, h 60 x w 50 cm.

Allabé, August (1838-1927) "Still life with ladles", signed in full lower right and '87, oil paint/panel, h 24 x w 16 cm (provenance: private Groningen family).

Nijmeijer, J. (Joop) (Hoogeveen 1941-2017) "Still life of mango", signed in full right and verso, oil paint/panel, h 40 x w 40 cm.

Gutter, Pieter (Piet) (1944) "Still life medicine bottles", signed in full right and '91, oil paint/board, h 37 x w 30 cm.

TWO CIRCULAR CHINESE WASHED WOOLLEN RUGS & MODERN WALL HANGING TAPESTRY, the first rug green ground with central pagodas and bridges pattern and tasselled edging, 144cms diam., the other burgundy ground with twin bamboo and floral sprays pattern with tasselled edging, 150cms diam., the tapestry depicting a fruit and floral still life study with birds and butterflies, on an iron hanging bar, 142 x 116cmsProvenance: deceased estate Conwy

PICTURES, PAINTINGS, PRINTS & MAPS ASSORTMENT, including 2 x colour printed maps, Denbigh by Saxton & Kip, 29 x 34.5cms and the Isle of Man, published by G Vertu, 1848, 20 x 26.5cms, 6 x antique colour prints, Llandudno and other views, 20 x 28cms (the largest), prints, colour photographic studies, 2 x still life acrylics by IAN WILLIAMS, dated 1997 and 1998, 16 x 11.5cms, and 13.5 x 10cms ETCProvenance: deceased estate ConwyComments: framed and glazed

A Framed Cat Print and A Miniature Still Life Print, Carrots

A Pair of Framed Watercolours, Still Life, Wild Flowers, 37x27cms, Signed and Titled to The Border in Pencil by the Artist

R Rosini floral still life in a gilt oval frame. 23cm x 28cm

Five contemporary paintings. Comprising a pair of oils of boards depicting cottages, signed 'R Witchard', 19.5cm x 24.5cm, a watercolour landscape marked 'JF', 9.5cm x 15cm, an oil on board floral still life, signed 'I. F. Nicholson' 24cm x 16cm, and an oil on board landscape signed 'J Perry', 24cm x 34cm

A tray of brass, oval box, miniature still life pictures, candlestick etc