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20th century, English school, still life of flowers, oil on board, 34 x 26 cmCould do with a clean, some small losses

Dutch school, 20th century, still life of flowers, oil on board, 84 x 70 cmSigned verso but faded, with inscription reading From the masterpiece by Jan Davidsz De HeemSurface wear, some losses to the frame

Ivan Waller, still life of flowers, oil on canvas, signed 40 x 34 cm, artist's label verso

James Roe, still life of flowers, oil on canvas, 70 x 90 cmOverall condition good

Dutch school, 20th century, still life of flowers, oil on board, 72 x 58 cmLooks as if it has been recently cleaned, slight losses to colour, losses to frame

Early 20th century, Dutch school, still life of flowers, oil on board, 63 x 46 cmPaint surface beginning to crack, under glaze

Royal Worcester Fine Pair of Twin Handled Vases ' Roses ' Still Life. Signed F.J.Bray, Shape No 2443, Date 1912. Height 9.5 Inches - 23.75 cms. Condition Report - Restoration to Base Area, Other Vase has large Cracks to Body, Bottom Glued Back Together.

Carl Friedrich Heinrich Werner (1808-1894) - Pair Of still life fruit, signed, on board, 11 x 14 Inches. Gilt Frames

Royal Worcester - Signed Hand Painted Jardiniere ' Roses ' Still Life. Date 1910, Shape No F118-H1054, Signed M. Blake, Height 6.25 Inches - 15.65 cms.

Royal Worcester Fine Trio of Hand Painted Blush Ivory Twin Handle Lidded Vases. Spring Flowers Still Life with Painted Gold Highlights. Date 1895, Shape No 1618. Tallest Vase 10.25 Inches - 25.65 cms. Condition Report - 1 Small Vase has Severe Damage to body, the Larger Vase, has some discolouration and scuff marks, and top has been glued back on.

A letter written to a supporter from the mother of David Pegg shortly after the Munich disaster accompanied by a Manchester United postcard, an individual picture of the great player and a picture taken from a periodical signed by David Pegg in pen across his image  with the letter thanking the young disabled fan for their patience following their letter to her son requesting a signed photograph. The letter is hand written on the back of the original written request in blue ink and it was originally fixed in a scrap book and there is cellotape from that time still attached and the document has been folded.  Possibly one of the most poignant of football related correspondence you could possibly imagine, the original request from the father was sent to the Pegg household nr Doncaster on December 18th 1957 and seemingly down to the sheer number of such requests was still not answered by that fateful day on February 6th 1958 when he lost his life on the runway at Munich, the youngest to lose his life of the 23 members of the Reds party, one of the saddest days in the history of the game, a message spelt very clearly as Jesse, his mother, signs it as "David's sorrowful Mother", wishing that the child "hurries up and gets better", a selfless thought at a time of great personal tragedy.  Mrs Pegg passed away in 2006.               

Payson, Dale (geb. 1943 in White Plains, NY) "Still Life with jars" Sign. Pastell auf dunklem Papier, auf Karton aufgezogen. 27×31,6 cm. Erworben bei: Sutter Antiques, Hudson, NY. R. (60450)

Balthasar van der Ast, 1593/94 Middelburg – 1657 DelftSTILLLEBEN MIT FRÜCHTEKORBÖl auf Holz.38,5 x 52 cm.Rechts unten signiert und datiert „1642“.In Louis XV-Rahmen.Auf einer Steinplatte, die am unteren Bildrand vertikal abknickt und daher dort verschattet ist, steht ein Flechtkorb. Dieser ist konisch auslaufend gestaltet, die Wandung ist durchbrochen in Stegen gearbeitet und eine Handhabe in Kreissegmentform ziert die Schauseite. In dem Korb und um den Korb herum hat van der Ast, so wie er es bei vielen weiteren Gemälden auch kunstvoll gezeigt hat, zahlreiche Früchte und Nüsse arrangiert. Quitten, Kirschen, Walnüsse, Trauben, Äpfel, Pfirsiche und das Laub des Weins, der den vakanten Raum um den Korb herum ziert, zeugen von der Freude des Künstlers Oberflächen zu gestalten und wie lebendig wirken zu lassen. Lebendig ist jedenfalls auch eine Fliege, die auf der hellen Stelle eines Pfirsiches Platz genommen hat, sodass sie dem Betrachter besonders gut ins Auge fällt.Anmerkung:Vgl. Neben den Körben, die er mit Blumen füllte, sind auch Früchtestillleben oder Kombinationen beider im Werk van der Asts zu finden. Ein Früchtestillleben aus seiner Hand wird im Koninklijke Musea voor Schone Kunsten in Brüssel unter Inv.Nr. 6643 verwahrt. (13715313) (13) (†)Balthasar van der Ast,1593/94 Middelburg – 1657 DelftSTILL LIFE WITH FRUIT BASKETOil on panel.38.5 x 52 cm.Signed and dated “1642“ lower right.Quinces, cherries, walnuts, grapes, apples, peaches, and vine leaves adorning the vacant space around the basket testify to the artist’s joy in shaping surfaces and making them appear vibrant. In any case, a fly placed on the bright side of a peach, catching the viewer’s eye particularly well, is also rather lively.Notes:cf. In addition to the baskets that he filled with flowers, there are also fruit still lifes or combinations of both in van der Ast’s ouevre. One of these fruit still lifes is held at the the Koninklijke Musea voor Schone Kunsten in Brussels under inv. no. 6643.

Frans van Everbroeck, um 1638 – um 1672Der Maler ist vor allem für seine prachtvollen Früchte- und Blumenstillleben bekannt.FRÜCHTESTILLLEBEN MIT SILBERSCHALE IN EINER STEINNISCHEÖl auf Leinwand. Doubliert.39,5 x 29,5 cm.In dekorativem Rahmen.Wir danken Fred G. Meijer für die Bestätigung der Zuschreibung.In einer rundbogigen Nische eine Silbertazza, darin eine Orange und leuchtend gelblich-rote Pfirsiche. Im Bereich des Standfußes weitere Pfirsiche und glänzende rote und helle Weintraubenrispen. Die Beleuchtung fällt von links auf die Nische und setzt gekonnt Licht- und Schatteneffekte. Die Lichtführung bewirkt das Leuchten der reifen Köstlichkeiten, die dadurch aus dem fast schwarzen und dunkelgrünen Hintergrund in hellem Glanz hervortreten. Harmonische Malerei in der Manier des bekannten Künstlers. (1371443) (1) (18)Frans van Everbroeck,ca. 1638 – ca. 1672FRUIT STILL LIFE WITH SILVER BOWL IN STONE ALCOVE Oil on canvas. Relined.39.5 x 29.5 cm.We would like to thank Fred G. Meijer for confirming the attribution.

Elias van den Broeck, um 1650 Antwerpen – 1708 Amsterdam PRACHTVOLLES BLUMENSTILLLEBENÖl auf Leinwand. Doubliert.48,5 x 40 cm.Links unten auf Steinplatte signiert „Elias van den Broeck“.In dekorativem Holzrahmen.Vor beige-braunem Hintergrund, der von links nach rechts aufhellt, auf einer grauen Steinplatte in einem bauchigen Gefäß stehend ein farbenfrohes prachtvolles Blumenstillleben. In diesem sind u.a. zu finden: Rosen, Anemonen, orangefarbene Ringelblumen, diverse Kleinblütler, eine weiß-blaue Ackerwinde, eine Sonnenblume sowie eine große, bis zum oberen Rand gehende, rot-weiß gestreifte Tulpe. Feine qualitätvolle Malerei mit gekonnter Lichtführung in der typischen Manier des Künstlers.Laut RKD wurde der Künstler 1665 Schüler von Cornelis Kick (1634-1681) in Amsterdam und 1669 Schüler von Jan Davidsz de Heem (1606-1683/84) in Utrecht. 1673 begleitete er de Heem nach Antwerpen, wo er Meister der Lukasgilde wurde. 1685 kehrte er nach Amsterdam zurück und wohnte vor dem Utrechter Tor, wo er einen Garten für seine Atelierbedürfnisse anlegte. (13714311) (1) (18)Elias van den Broeck,ca. 1650 Antwerp – 1708 AmsterdamMAGNIFICENT FLORAL STILL LIFE Oil on canvas. Relined.48.5 x 40 cm.Signed “Elias van den Broeck” on stone slab lower left.According to the RKD the artist became a student of Cornelis Kick (1634-1681) in Amsterdam in 1665 and a student of Jan Davidsz de Heem (1606-1683/84) in Utrecht in 1669.

Abraham Jansz. Begeyn, 1637 Leiden – 1697 Berlin, zug. WALDBODENSTILLLEBEN MIT KAKTUS UND EIDECHSEÖl auf Leinwand.55 x 48 cm.In dekorativem Rahmen.Im Inneren eines großen dunklen Waldes am Boden ein großer Kaktus mit Stacheln, rechts daneben ein kleines zartes Waldveilchen sowie eine Eidechse. Im Hintergrund mehrere Grünpflanzen und drei farbenfrohe Schmetterlinge sowie eine große Libelle. Im Hintergrund auf der linken und rechten Randseite, zwischen einzelnen Baumstämmen, das durchscheinende gelbliche Licht der untergehenden Sonne. Malerei in der typischen Manier des Künstlers. Der Künstler war ein niederländischer Stillleben-, Landschafts- und Vedutenmaler, der in Leiden, Amsterdam und Den Haag tätig war. Er war von 1655 - 1667 Mitglied der Lukasgilde in Leiden. 1688 wurde er als Hofmaler von Kurfürst Friedrich III nach Berlin berufen. (1371442) (1) (18)Abraham Jansz. Begeyn,1637 Leiden – 1697 Berlin, attributedFOREST FLOOR STILL LIFE WITH CACTUS AND LIZARD Oil on canvas.55 x 48 cm.

Adriaen Jansz Kraen, 1619 Haarlem – 1679 ebenda, zug.STILLLEBEN MIT EINER MIT ERDBEEREN GEFÜLLTEN CHINASCHALE, UMGEBEN VON KANNE, BECHER, WEINGLÄSERN UND BROTÖl auf Holz.61 x 84 cm.Wir danken Fred G. Meijer, RKD, für die Zuweisung des Künstlers.Die Gegenstände, unter denen sich auch Austern, Trauben mit Weinblättern, ein unter dem weißen Serviertuch liegendes Messer und eine weitere kleine Cinaschale finden, korrespondieren in ihrer kühlen Farbigkeit bewusst mit dem grauen Hintergrund einer Wand, die nach rechts hin aufgehellt erscheint. Damit bekommen die Silbertöne eine das Bild dominierende Farbcharakteristik. Dunkler Metallglanz liegt auf der zinnernen Schnabelkanne und den Zinntellern, entsprechend heller leuchtet der gravierte Silberbecher. Elegante farbliche Übereinstimmung dazu bildet die Perlmuttfarbe der Austernschalen und der dunkel leuchtende Weißwein in den Warzengläsern. Hauptgegenstand ist die in der Barockzeit hoch bewertete Wan-Li - Porzellanschale mit blauer Glasur, die hier auch das im Bild dominierende Rot der Walderdbeeren umfängt. Dazu korrespondiert das dunklere Rot der Damastdecke. Diese zurückhaltend-elegante Farbigkeit, der sogenannten „monochrome banketjes“, ist charakteristisches Merkmal der Bilder von Kraen, der sich auf die Stilllebenmalerei spezialisiert hat.Er wird erstmals 1637 in Haarlem dokumentiert, ein Jahr darauf als Schüler des Jacob de Wet I. erwähnt, dessen Schwester er später ehelichte. 1642 gehörte er zur Malergilde in Haarlem. Nur wenige Gemälde mit Datierung haben die Zuweisung an weitere Bilder ermöglicht, so etwa bei Douwes, Amsterdam 1977, mit der Datierung 1642. Zunächst wurden etliche seiner Werke seinem Malerkollegen Pieter Claesz- oder Willem Claesz Heda gegeben, denn tatsächlich sind stilistische Ähnlichkeiten zu sehen.Literatur: N.R.A. Vroom, A modest message as intimated by the painters of the „Monochrome Banketje“, Schiedam, 1980,P. Gammelbo, Dutch Still Life Paintings from the 16th to 18th Centuries in Danish Collections, Kopenhagen, 1960, A.R. (1371508) (11)Adriaen Jansz. Kraen, 1619 Haarlem – 1679 ibid., attributedSTILL LIFE WITH STRAWBERRIES IN CHINESE BOWL SURROUNED BY A JUG, CUP, WINE GLASSES, AND BREAD Oil on panel. 61 x 84 cm.We would like to thank Fred G. Meijer, RKD, for the attribution to the artist.

Jacob Rotius, 1644 Hoorn – 1681/82 ebendaFRÜCHTESTILLLEBEN IN LANDSCHAFTÖl auf Leinwand.66 x 53, 5 cm.Um 1675.Gerahmt.Wie der Maler und Kunstbiograph Arnold Houbraken berichtet, studierte Rotius bei Jan Davidsz de Heem. Jüngere Forschung ergab, dass er der Sohn des Blumenmalers und Porträtisten Jan Albertsz Rotius (1624 - 1666) war. Den Berufschancen des „Goldenen Zeitalters“ der niederländischen Malerei gemäß, spezialisierte sich Jacob Rotius jedoch weitgegend des Stilllebens. Wie seine Bilder erkennen lassen, folgte er weniger dem althergebrachten Schema künstlich aufgebauter Blumen- oder Früchtearrangements, sondern es lässt sich bei ihm eine freiere, zufällig wirkende Komposition erkennen. Dies ist auch in vorliegendem Gemälde der Fall: wohl aufgrund italienischer Beispiele hat der Maler hier die Früchte in lockerer Weise auf einem Boden in einer Landschaft präsentiert, neben einem hohen Steinpfeiler links im Bild, vor einem drapierten Vorhang rechts, mit Ausblick in die hügelige Ferne bei untergegangener Sonne. Früchte, Melonen und Trauben in einem großen Korb und davor, dazwischen Weinblätter und Insekten, bilden ein üppiges Früchtestillleben in barockem Überfluss. Am Horizont ein Städtchen vor der Bergsilhouette. A.R.Provenienz:Galleria Luigi Caretto, Turijn 1999. Private collection 2021-05. Sotheby’s, New York 1982-11-04, lotnr. 44, mit S/W-Abbildung.als Art des Jacob van Walscapelle.Christie's London, 1997-10-29, lotnr. 272.als Christiaen van Dielaert zug. Das Gemälde ist als Jacob Rotius im RKD-Register eingetragen. Künstlerbestätigung durch Fred G. Meijer, 1997. (1370013) (11)Jacob Rotius, 1644 Hoorn – 1681/82 ibid.STILL LIFE OF FRUITS IN LANDSCAPEOil on canvas.66 x 53, 5 cm.Circa 1675.

Holländischer Meister des 17. JahrhundertsSTILLLEBEN MIT TRAUBEN, PFIRSICHEN, WALNUSS UND SCHMETTERLINGÖl auf Leinwand. Doubliert.58 x 46,5 cm.In aufwändig gestaltetem ebonisiertem Wellenleistenrahmen.Das Gemälde zeigt in einem abgedunkeltem Raum eine reich geäderte profilierte Marmordeckplatte, auf der ein blaues Samttuch mit Goldfransen die rechte Ecke einnimmt. Darauf rote und weiße Trauben, davor eine Gruppe von vier Pfirsichen, ein darauf sitzender Schmetterling sowie eine Walnuss, in wie hier geöffneter Form als Vanitassymbol zu verstehen. Der Raum wird nach hinten durch Blattwerk den davor gelagerten Früchten entsprechend gestaltet. (13703325) (13)Dutch Master of the 17th centurySTILL LIFE WITH GRAPES, PEACHES, WALNUT AND BUTTERFLY Oil on canvas. Relined.58 x 46.5 cm.

Johann Adalbert Angermeyer, 1674 Bílina – 1740 PragGemäldepaarFEINE BLUMENSTILLLEBENÖl auf Holz.Je 19 x 14 cm.Verso mit Etiketten, Nummerierungen und handschriftlichen Vermerken.Jeweils in ornamental verziertem Profilrahmen.Jeweils auf einer profilierten Tischplatte, die einmal von links und auf dem Pendant von rechts in den Bildraum hineinragt eine bauchige entfärbte Glasvase mit darin befindlichem fein aufgefasstem Blumenbouquet.Literatur:Hana Seifertová, Johann Adalbert Angermeyer (1674-1742), A Prague specialist in cabinett still life, Prag 2015, S. 224, Kat. 51 und 52. (13703362) (13))

Markey Robinson (1918-1999)Still Life Gouache, 24 x 74cm (9½ x 29")SignedProvenance: Bought directly from the artist by the current owner

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

David Ffrench Le Roy (b.1971)Still Life with Cherries and Red WineOil on board, 24 x 34cm (9½ x 13½")Signed

Stillleben vor Landschaft in blau, Öl auf Leinwand auf Platte, 28,5 cm x 34,5 cm Werkmaß, signiert, VII.83 datiert, verso ebenfalls signiert und Vnitrní Vesmír bezeichnet, partiell Kratzer und kleine BereibungJosef Lehoucka (1923 - 1999 Czech Republic) (F)Still life in front of a landscape in blue, oil on canvas on panel, 28,5 cm x 34,5 cm, signed, dated VII.83, verso also signed and inscribed Vnitrní Vesmír, partly scratches and minor rubbing

Stillleben mit Weintrauben und Schmetterling, Öl auf Platte, 20 cm x 30 cm Plattenmaß, signiert, 1989 datiertHenri Bol (1945 Eindhoven - 2000 Hertogenbosch)Still life with grapes and butterfly, oil on panel, 20 cm x 30 cm panel size, signed, dated 1989

Stillleben mit Eiern und Krug, Öl auf Platte, 30 cm x 40 cm Plattenmaß, signiert, 89 datiertHenri Bol (1945 Eindhoven - 2000 Hertogenbosch)Still life with eggs and jug, oil on panel, 30 cm x 40 cm panel size, signed, 89 dated

Stillleben mit Weintrauben in einer weißen Schale, Öl auf Platte, 30 cm x 20 cm Plattenmaß, signiert, 89 datiertHenri Bol (1945 Eindhoven - 2000 Hertogenbosch)Still life with grapes in a white bowl, oil on panel, 30 cm x 20 cm panel size, signed, 89 dated

Alice Mary Havers (British, 1850-1890)Contemplation  signed 'A Havers' (lower left)oil on canvas127 x 81.3cm (50 x 32in).Footnotes:ProvenanceWith Thos. Agnew & Sons, Manchester.With Pyms Gallery, London.Private collection, UK (acquired from the above).When Alice Havers died of an accidental morphia overdose in 1890, aged only forty years old, more was made of this abrupt, tragic end, linked to her status as a divorced woman than of her art. In her resultant obituaries, journalistic opinion swayed between describing her manner of dress, her mental health, only turning occasionally to the popularity of her art. Despite the seemingly gentle and traditional scope of her art, the life and career of Alice Havers, also known as Mrs Frederick Morgan, resonates with the fate of modern, creative women today.Alice Mary Celestine Havers was born on 19th May 1850. The Havers family lived at Thelton Hall in Norfolk, their ancestral home, built in the 16th century. Alice's father, Thomas Havers (1810-1870), relocated his family to the Falkland Islands in 1854, taking work as manager of the Falkland Island Company, then moving his family to Uruguay. Thomas Havers apparently had artistic aspirations himself, planning a series of pieces based on the flora and fauna of the islands and it is assumed he encouraged his daughter's talent.1 For source material far from home, Alice copied pictures from the Illustrated London News and the Graphic as her way of developing her artistic skills (Atlanta, Volume 4, 1890).After Thomas Havers' death in 1870, Alice returned to England with her siblings. She enrolled at the South Kensington Art School where her work earned her a free scholarship. She married fellow artist Frederick Morgan in April 1872 yet maintained her maiden name professionally. The couple had three children, including artist Valentine Havers (1873-1912), who tellingly used his mother's name professionally. Despite the pressures of motherhood, Alice continued to work and exhibit to some modest acclaim, including Ought and Carry One (1874), a profile of a schoolgirl working on a sum, which was bought from the Royal Academy by Queen Victoria. Coupled with this, Alice illustrated books, including the romantic novels of her sister Dorothy Boulger (1846-1923), becoming known for her spirited and expressive illustrations.  The Gentlewoman magazine in September 1890 commented on Alice's work as being 'graceful, delicate, almost ethereal...She never painted anything large or very ambitious in design or colouring...it was [beauty] proceeding from purity of soul, and the outward expression of the artistic thoughts and ideas treasured up in her heart'.2 Her output bustled with images of idyllic, industrious female rural lives; groups of picturesque peasant girls washing clothes, gathering flowers or just pausing in woodland or by streams. Such public-pleasing images became coloured plates, sold for domestic display and securing her reputation as a popular, accessible artist, not to mention providing an income to her household that would have easily rivalled, if not exceeded, that of her husband. Throughout these years, Alice was contending with an abusive homelife. Frederick Morgan had conducted affairs from the year after Valentine was born until Alice filed for divorce in 1889. The marriage was violent; her sister Dorothy once took the place of her sister at a dinner party after Alice was too badly beaten to attend. It is possibly unsurprising therefore that alongside the pastoral idylls, Alice occasionally exhibited more poignant, darker paintings such as End of her Journey (1875), depicting a woman dying by the roadside, and Trouble (1885), showing a mother holding her cadaverous child la pietà, while stoically instructing her other children, within a dingy room with the grey-washed city visible through the slanting windows. When Trouble was exhibited with the Society of Lady Artists, it was praised in the way Alice 'treats the domestic sorrows of humble life with touching tenderness of sentiment.' The common thread through these works is the condition of female existence in a perfect world, sometimes in harmony, sometimes at odds.The present painting hangs between the idyllic and the pensive. A beautiful peasant girl carrying a bundle pauses by a stream in a woodland. Beyond the screen of trees lies a sunlit meadow but she pauses, hand on hair, gazing down at a patch of foxgloves. The familiar elements of Havers art are present – the setting, the character, the eternal summer – but the girl's pondering of the flowers brings interpretations to the work. In Thomas Miller's 1840 book on the language of flowers, The Romance of Nature, he gives the meaning of foxgloves as 'I am not changed, they wrong me', an expansion on the traditional meaning of 'insincerity'. Arguably a narrative of Havers own marriage, the weary, thoughtful expression and dark, atmospheric woodland speaks of choices and disappointments, raising questions of where the girl is headed or what she is leaving behind.Alice's arrival in London in 1870 coincided with that of Paul Durand-Ruel (1831-1922), famed Parisian art dealer, who sought exile from the Franco-Prussian war. With the establishment of his London gallery in New Bond Street and its annual exhibitions, the shock of Impressionism was finally released on the London masses. Art students including George Clausen (1852-1944) flocked to see Impressionism and its treatment of the rural poor as a legitimate subject. This drive gained further momentum with the publication of Alfred Sensier's 1881 book Jean-François Millet, Peasant and Painter together with others including the Fine Art Society's Twenty Etchings and Woodcuts of Millet's work on the noble, rural poor. This influence was reflected in a review of Alice's illustrations for William Morris's 1889 book of poems, where the Birmingham Mail referred to her as 'one of the foremost English lady exponents of the French school'.3 Alice's transition from rural idyll to rustic narrative reflects the general movement in Britain which resulted in the art of Henry Herbert La Thangue (1859-1929), the Newlyn School and the novels of Thomas Hardy. The girl who considers the foxgloves in Alice Haver's painting is a proto-Tess of the D'Urbervilles or Bathsheba Everdene, considering her life choices that are ever-dependent on their socio-economic status in natural surroundings that offer both light and plenty and dark and danger.After a very public and damaging divorce in 1889-90, Alice and her children moved back to London, to St John's Wood where she rented a house with a studio, but the new life was not to last long. She had been suffering from neuralgia and medicating with morphia, injected straight into her forehead, spending her nights on the couch in her studio. On the morning of 25th August 1890, the maid found her insensible from an overdose, with the needle still clenched in her hand. On the table was a letter to her doctor, describing her symptoms as unbearable and requesting another course of treatment. 

Edward Ladell (British, 1821-1886)Fruit on a tazza with grapes, a peach and a wine glass signed with monogram (lower left); inscribed 'Fruit and still life/painted for Sir ... .../by Edward Ladell of Colchester/in 1874' (on label attached to the reverse)oil on canvas43.2 x 35.6cm (17 x 14in).Footnotes:ProvenanceWith Richard Green, London. Private collection, UK.For further information on this lot please visit Bonhams.com

Margaretha Roosenboom (Dutch, 1843-1896)Still life of Dog-roses signed 'Marguerite Roosenboom.' (lower right)oil on canvas25.5 x 46cm (10 1/16 x 18 1/8in).Footnotes:ProvenancePrivate collection, UK.For further information on this lot please visit Bonhams.com

Fedor Petrovich Tolstoy (Russian, 1783-1873)Still life with red and white currants signed in cyrillic and dated 'Count Feodor Tolstoy 1857' (lower left)pencil, watercolour and gouache on paper34.5 x 28cm (13 9/16 x 11in).Footnotes:ProvenanceAcquired by Lev Moiseievich Berline circa 1900.Thence by descent.Private collection, UK.Lev Berline (1854 - 1935) worked as a barrister in Brussels and St Petersburg.For further information on this lot please visit Bonhams.com

C Benolt - a still life of sunflowers and other flowers, oil on canvas, 90cm x 58cm, signed lower left hand corner, in a wooden frameLocation: RWB

A still life study of a claret jug, goblet, flowers in bloom and fruiting vines, oil on canvas, bears a signature Bela BalgghLocation:

BALVENIE 21 YEAR OLD PORTWOOD SPEYSIDE SINGLE MALT Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.40% ABV / 70cl

BALVENIE 16 YEAR OLD TRIPLE CASK SPEYSIDE Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.40% ABV / 70cl

BALVENIE 12 YEAR OLD SIGNATURE BATCH #1 SPEYSIDE SINGLE MALT Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.40% ABV / 70cl

BALVENIE 12 YEAR OLD SIGNATURE BATCH #4 SPEYSIDE SINGLE MALT Balvenie is part of the Grant’s family and sits beside its sister distilleries, Glenfiddich and Kininvie, in the Speyside burgh of Dufftown. Established in 1892, just a few years after Glenfiddich, Balvenie has spent its life supplying the heart of the Grant’s blend. In fact, it wasn’t until nearly 100 years later, when Kininvie was built, that it was able to seriously market its own single malt.One of very few distilleries to retain its own malting floor, Balvenie is slightly unusual for a modern Speyside whisky in that it still uses a small percentage of peated malt to make its spirit. While the new make it produces is far from smoky, this small amount of peat gives it a distinctive character that has helped it become one of the best-selling malt whiskies in the world.40% ABV / 70cl

Susanna Linhart (1931-2021) 'Still Life of a Jug', oil on canvas, signed in lower right, 36.5cm x 36.5cm The oil itself is generally in good condition. The frame and back of the canvas with signs of wear consistent with age and use. Nails and staples with rusting. The back of the canvas has been written on in pencil. The frame of the canvas is stamped/numbered 15.

A Large collection of Autochrome Magic Lantern Slides, covering a wide range of subjects including still life, gardens, plants and a ship, an unusual image of an eye (31)

† CAROLINE BAILEY (born 1953); watercolour, still life flowers in a vase, signed lower right, 80 x 62cm, framed and glazed.

† MARCELLA SMITH; watercolour, still life of flowers, 38 x 56cm, framed and glazed.

† MARCEL HUE; oil on canvas, still life study of flowers in basket, signed lower right, 63 x 52cm, framed.

SCOTTISH SCHOOL; oil on canvas, still life study of flowers, unsigned, 37 x 45cm, framed.

CHARLES HENRY SLATER (1820-1890); two watercolours, still life fruit, largest approx 35 x 27cm, each signed, one example framed and glazed. Condition Report: The framed and glazed example with minor losses to the frame but good condition, the unframed example with staining and wear to the mount but the image is good.

A. KARELS; oil on board, still life with wine glasses and peeled lemon, signed lower left, 11 x 15cm, framed.

A mixed lot including oil on board by W. Alan Marsh 'Stream and Trees', 33 x 44cm, a Victorian oil on canvas signed E. Newby, 41 x 54.5cm, a colourful oil on board, still life fruits, signed Arthur Wright 1976, 44.5 x 59cm, a pastel drawing and two other pictures (6).

Eloise Harriet Stannard (British, 1829-1915) Still Life of Apricots and Fruits signed and dated 1870 (lower right), oil on canvas 75 x 61cm (29.5" x 24") Provenance: Richard Green, 44 Dover Street, London W1X 4JQ Artist's label inscribed No.2 Apricots

Attributed to Eloise Harriet Stannard (British, 1829-1915) Still Life of Fruit in a Basket with Birds Nest and Insects oil on canvas 49cm (19.5") diameter Provenance: The Titian Gallery - October 2001

Music Score Sheet collection 4 signed items includes Karl Denver signed Still sheet, Marty Robbins signed The Story of My Life, Danny Williams The Wonderful World of the Young ana multi signed sheet I love the sunshine of your smile. Good condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £10.

ORIENTAL SCHOOL. A WATERCOLOUR STILL LIFE OF MAGNOLIA BUDS. SIGNED IN ORIENTAL SCRIPT. 19” X 14”

K PATRICK; OIL PAINTING ON CANVAS OF A STILL LIFE OF SUMMER BLOSSOMS, SIGNED, IN GOOD GILT FRAME, 23” X 19”

Two still life studies of flowers, one signed Bettie, watercolours. Together with a furnishing print after Degas of ballet dancers. (3)(B.P. 21% + VAT)

A Derby porcelain coffee cup, circa 1790, the front reserve painted with still life of bowl of spilling berries, peaches, grapes, figs and foliage with two goldfinches above within gilt border, the body painted with thistle flowers punctuated with gold stars and dots, interior gilt border, puce Derby marks, pattern no: 254, V above incised mark beside foot rim together a matched saucer, similar thistle style, star and dot decoration, demi-lune and foliate gilt border, purple Derby mark to underside and pattern no: 258 (2)    Condition Derby porcelain cup: Chips to paint on pear at bottom left section and to paint left of grapes left mid section, crazing to underside, some surface scratches, pitting to underside  Condition of Derby saucer: Some wear to gilding on scrolling floral reserve border approx 1cm long, Phillips lot number 655 sale 562 label to underside, some surface bubbling & discolouration to glaze at foot rim 4cm long 

Genelli (Continental, 20thC). Still life of fruit with a bowl and flagon, oil on canvas, signed, 44.5cm x 53cm.

Learning to Fly - Sponsor: Solopress Artist: Peter Poole Peter creates artwork that blends realistic elements with imaginative ideas, including still life, landscape and urban scenes. He has designed backdrops for a children’s theatre company and worked on several Wild in Art projects including Havens Hospices’ Hares About Town trail.

24 Little Hours - Sponsor: BYAM England Artist: Jen French The days roll into one sometimes with this fast pace of life we are living - we don't get a chance to stop, be still, take a moment to reset. This all-glass mosaic design shows what happens in just 24 little hours. People can walk around the elephant and experience what happens in just 24 little hours.

Gordon Meeton, British b. 1945- ,Still life of Baked Beans, eggs and a basket,unsigned, oil on board,30x32cm.

MARIA GRAHAM STILL LIFE PASTEL 50 X 48CM

L.MURDOCH WATERCOLOUR - STILL LIFE 43 X 29CM

Dutch School, 19th centuryA still life of flowers and fruit on a stone ledgeoil on canvas70 x 100cmProvenance: With Frost & Reed.Condition Reportoverall: 87 x 116cmThe painting is executed in oil on a canvas support which has been lined. The canvas tension is good and the picture is in plane. The paint layers are stable overall. There is some evidence of wear and abrasion in the background of the picture. Areas of overpaint appear well matched to the original. The varnish is clear, even and glossy. There is some slightly opaque haze in the age cracks of the picture.