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Harry Young, still life of flowers in a vase; still life of flowers in a jug, two works, each signed former dated 1963, oil on canvas, 60 x 49cm and 59cm. (2) 

Harry Young, still life of flowers, four works, oil, largest 45 x 39.5cm. (4) 

ARR David Hill, 1914-1977, still life with a classical statue before a window, oil on canvas, 97 x 78cm

Continental School, 20th century, still life of flowers, oil on board, 58 x 45cm

Uriel Eekhoff, 1923-2014, still life on a table, signed, oil on canvas, 53 x 71cmOverall condition is slightly dusty. No obvious damage or repairs. Clearly signed. Frame is tidy and solid.

Paul Morgan. 20th century, still life, oil on panel, 29 x 39cm, together with another by the same hand, with receipts from the Wildgoose Gallery (2)

Uriel Eekhoff, 1923-2014, still life with flowers, signed, oil on canvas, 53 x 71cm

A. Harper, early 20th century, still life, signed and dated 1909, oil on canvas, 26 x 45cm

English school, 19th century, still life of game, oil on canvas, together with the companion, a pair, each 15 x 20cmDirty. Crazing within the surface. Some rubbing to the surface in places. No visible signature. Frames are old, but quite marked with losses. Collected from a local house move, so unrestored.

Graham Hedges, 20th century, stormy seascape, signed oil on canvas, 29 x 37cm, together with another by the same hand, and continental school, still life fruit, oil on canvas (3)

Oil on canvas depicting a still life of fruit and glass bottles on a table. Approx 119cm x 79cm.

OLIVER CLARE. Pair of oils on canvas. Signed. One depicting a still life of flowers and another depicting a still life fruit. Both approx 17cm x 22cm.

Oil on canvas depicting still life of fruit in a bowl. Signed FRANKLIN, Approx 39cm x 28cm.

Oil on canvas depicting a still life with flowers in a vase with pictures to background. Signed with initials. Approx 90cm x 70cm.

STILL LIFE PRINT AFTER THE DUTCH OLD MASTER in gilt frame

STILL LIFE, PANSIES IN BASKET AND TWO OTHER PICTURES each framed still life 40cm x 50cmQty: 3

SCOTTISH SCHOOL, STILL LIFE oil on canvasunframedoverall size 51cm x 76cm

Claude Jung (19th/20th Century)Still life of pink flowers in a blue vaseSigned oil on board, together with a small group of floral still life pictures, including W*D* Guthrie Roses watercolour, W.E Littlewood etc (7)

REMEDIOS VARO (1908-1963) WITH POSSIBLE ADDITIONS BY ÓSCAR DOMÍNGUEZ (1906–1957) & ESTEBAN FRANCÉS (1913–1976)Composition surréaliste (tableau collaboratif) bears the signature and date 'Ó. Dominguez 1935' (lower left), further indistinctly signed (lower left) and indistinctly signed and dated (upper right)oil on copper20.4 x 13.9cm (8 1/16 x 5 1/2in).Painted circa 1935Footnotes:We are grateful to Dr. Salomon Grimberg for his assistance in cataloguing this work, with regards to the artistic input of Remedios Varo. We would also like to thank the Asociación en Defensa de Óscar Domínguez, including Mélodie Bonnat, and Josefina Alix for their assistance cataloguing this work.ProvenancePrivate collection, Paris; their sale, Blanchet & Associés, Paris, 19 October 2022, lot 43.Acquired at the above sale by the previous owner. Acquired from the above by the present owner.On a warm August evening in a Montparnasse studio, a lively gathering of artists was taking place. The year was 1938 and the studio belonged to Óscar Domínguez, an exuberant young painter from Tenerife. He and his guests were acolytes of a vanguard cultural movement known as Surrealism. Its tenets promoted the omnipotence of dreams, the sovereignty of collaborative experimentation, and sexual freedom as a precondition to unbridled artistic expression. In attendance were the artists Yves Tanguy and Georges Hugnet, as well as the writers Paul Éluard and Benjamin Péret. The centre of the group's attention had turned to the vivacious and attractive Remedios Varo, a vigorously talented Spanish artist who lived an openly polyamorous lifestyle. Somewhat unsurprisingly for a strong-willed woman in a predominantly male setting, her romantic and sexual life became the topic of debate. The antagonist was Esteban Francés, a Catalan artist six years her junior, whose adoration of Varo was sometimes marred by his complicated and jealous persona. He openly criticised her for her multiple relationships, despite the fact that he was part of one such ongoing tryst. Domínguez - another of Varo's lovers - rose gallantly to defend her, but he swiftly lost control and flew into a towering rage. Suddenly concerned, their friends intervened in the ensuing tussle. Victor Brauner - a Romanian artist with whom Varo would later reside – restrained Francés' arms. The strong and thickset Domínguez twisted free from his own captors, grabbing a glass and launching it at Francés. But in the chaos, the glass struck the face of the unfortunate Brauner and ripped his eye straight from its socket.The complex layers of this group dynamic form a necessary backdrop to understanding the total enigma which is the present work. Spontaneous, disturbing and eerily auspicious, Composition surréaliste (tableau collaboratif) is a painting partially authored by Varo, and for which one can surmise possible contributions from both Francés and Domínguez. Completed around two years before the shocking incident in Montparnasse, this small painting on copper is psychically charged, foreshadowing the love, violence and strife that would descend upon its creators. Indeed, the artists of the Surrealist milieu possessed an uncanny knack for artistic divination. Domínguez had, around seven years prior to the brawl, completed a disturbing self-portrait in which his hand was mutilated, his arm veins severed. Twenty-seven years later, after an unsuccessful exhibition, he was discovered in the bathtub of his Montparnasse studio, having slit his wrists. (Brauner, too, completed a captivating and gruesome self-portrait around seven years prior to his injury, with a gaping hole in place of his right eye. This was one of his many artistic explorations of one-eyedness from the early 1930s).Varo believed wholeheartedly in such premonitions. She approached her art and her life constantly attuned to magic and mysticism, with a dash of psychoanalysis mixed into the heady cauldron of her stimuli. For Varo and her friends, the spontaneity and surprise of collaborative compositions conjured up the magic of the unexpected, resulting in fascinating works that are iconic to the story of Surrealism. The present work is key in this regard. Upon the shifting tectonic folds of a barren volcanic landscape, distorted, nude, puppet-like figures engage in sexual and sadistic behaviour. Their jagged, jaunty stances and smiling faces generate a sinister hue of contradictions - the true elixir of Surrealism. Blood-red biomorphic gourds menstruate and sprout wriggling, sperm-like, sinuous roots, evoking a twisted mix of gore and desire. To the centre, a nude woman, possibly pregnant, is showered in droplets of white liquid, the bars of her figurative prison cell suspending her over a gaping abyss. At the base of the scene, an embryonic form within a drop of liquid rises from a seashell like a child of Venus, cowering in anguish at the terrifying realm it has entered. In the foreground, the severed head of Gerardo Lizarraga, Varo's husband, looks on passively, encased in a perilously hanging box. Although the scene lacks a cohesive narrative, its vignettes generate the rhythm and flow of a hallucinatory vision, one that gains its vitality through its juxtapositions. This engrossing disjointedness arises in part from the work's collaborative nature. Collective creativity was core to the Surrealists' toolkit, as they believed such collaborations could release the individual from the biases of conscious thought, thereby accessing a shared subconscious realm. This ideal came to fruition in the summer of 1935 in Barcelona, a critical chapter in the story of Surrealism and a catalyst for the present work. During that time, Varo, Francés, Domínguez and their fellow Surrealist Marcel Jean devoted themselves to the game of cadavre exquis ('exquisite corpse'). A game of words that the Surrealists transformed into a visual exercise, cadavre exquis involved one player creating a collage or drawing, obscuring their design and passing the paper to the next player, who would add their own image. This resulted in a fascinating series of works, many of which were composed vertically so as to generate the head, body and limbs of a quasi-humanoid form. The vitality of these spontaneous works led the group to evolve related exercises allowing for fuller, more cohesive compositions that were still grounded in hasard objectif ('objective chance'). Thence grew the jeu de dessin communiqué ('game of shared drawing'), whereby a player would draw an image and show it to the next participant for a brief instant, who would then interpret it in their own spontaneous composition, inviting contributions from the ensuing players. The imagery that Varo and her friends thus conjured would often comprise biomorphic entities with zoological and humanoid features, sometimes in erotic or tortuous positions, who were somehow connected to the features and objects of their surrounding terrain. On rare occasions, paintings would be created in this fashion, started by one artist and then re-worked or even partially erased by the ensuing collaborators. The present work is a unique token of this fervent period, offering a privileged glimpse into this captivating artistic methodology. Many of the group's paintings and drawings from this time have been lost, due in part to the surrounding turmoil of the Spanish Civil War, as well as their free circulation among other artists by post and itinera... This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

GIORGIO DE CHIRICO (1888-1978)Vita silente signed 'G. de Chirico' (lower right); signed, inscribed and dated 'Opera eseguita nel 1931 a Parigi Giorgio de Chirico' and further signed 'Giorgio de Chirico' (on the reverse)oil on canvas38.3 x 55.5cm (15 1/16 x 21 7/8in).Painted in Paris in 1931Footnotes:ProvenanceGalleria d'Annunciata, Milan, no. 1908 (probably acquired directly from the artist in the 1940s).Private collection, Italy (acquired from the above in the 1950s).Galleria Bergamini, Milan.Galleria Gussoni, Milan.Anon. sale, Brera Galleria d'Arte, Rome, 16 December 1964, lot 241.Private collection, Rome (acquired at the above sale).Private collection, Rome (by descent from the above).LiteratureC. Bruni Sakraischik, Catalogo Generale Giorgio de Chirico, Vol. III, Opere dal 1931 al 1950, Milan, 1983, no. 180 (illustrated; incorrect dimensions).Vita silente presents assorted fruits; apples and lemons stand alongside a ripe tomato and a clementine, delicately arranged on a white cloth. The bed of ivory fabric accentuates the contrast of this chromatic range of warm colours, with a diffuse light that crosses the work, casting soft shadows. The work is a harmony of yellow, red and orange hues, enhanced by a complementary blue woven softly into the background and foreground through classically Impressionistic strokes.Painted in Paris in 1931, the present work stands testament to the renewed interest for the still life genre from twentieth century Italian painters and it remained an important subject for artists until well into the 1960s. Arguably Giorgio de Chirico and Giorgio Morandi were at the forefront of this revival and the style's most prolific protagonists in Italy, however, the subject was also widely explored by many fellow Italian artists such as Carlo Carrà, Gino Severini, and Renato Guttuso. Despite this modern revival of the subject, de Chirico sought to draw inspiration from the past more than from his contemporaries. When he settled in Rome in 1918-1919, he spent his time in museums, copying and studying the works of Old Masters. Thus when he returned to Paris in 1925, his technique was imbued with the influences of the Baroque and the Renaissance, which reveal themselves through his luxurious brushwork, dramatic stage settings and grandiosity in sumptuously elaborated paintings. Nevertheless, despite de Chirico's negative opinion of the Impressionist group, his pared down composition in the present work is brighter, and his technique tends more to their handling, particularly through the thin strokes of complementary colours etched into the background. His focus on volumes standing out on the white cloth also recalls one of the masters of still life and of the modern painting genre, Paul Cézanne. The most unequivocal reference here however, is to Pierre-Auguste Renoir. One of the few Impressionists de Chirico openly admired, he once wrote that: 'Renoir [was] the only French painter to hold his own without camphor oil injections or oxygen tents, [...] because his painting pleases and because he was a real painter.' (G. de Chirico, 'L'eterna questione', in L'Ambrosiano, Milan, March 1938). Following Renoir's example, de Chirico applied vibrant strokes of paint, using diagonals to his advantage while playing on the convolution of folds, and combining the broken lines of the cloth with the circular volumes of the fruit. Another of Renoir's greatest talents was his masterful use of coloured shadows, which de Chirico subtly implements here, with soft blue shadows tucked into the folds. As with his contemporary Giorgio Morandi, whose almost vocational pursuit of the still life sculpted some of the most renowned pieces of twentieth century Italian painting, for de Chirico, a still life was more than a simple exercise in style and technique, hence his peculiar choice of title: Vita silente rather than 'natura morta', the Italian translation of 'still life'. As much a painter as a theorist, he wrote extensively on the subject: 'In the German and English language 'natura morta' has another name that is far more beautiful and correct. Its name is Still leben and Still life: 'vita silenziosa' (silent life). It refers to a painting, in fact, which represents the silent life of objects and things, a calm life, without sound or movement, an existence that expresses itself by means of volume, form and plasticity.' (G. de Chirico, 'Le Nature morte', in L'Illustrazione Italiana, Milan, 24 May 1942). This form of inner life, hidden beyond reality, is the essence of what metaphysical painting was all about. Indeed, the term 'metaphysical' refers to the painter's perpetual search for the hidden meaning of objects. De Chirico's work was always guided by the idea that there was meaning hidden behind the surface of the objects represented. Thus, the subject of the silent life is not so far removed from de Chirico's imagined impossible landscapes, his juxtapositions of objects, and his oneiric scenes that seem to come directly from the subconscious and go beyond physical reality. As he explained in a 1919 text: 'every object has two appearances: one, the current one, which we nearly always see and which is seen by people in general; the other, a spectral or metaphysical appearance beheld only by some rare individuals in moments of clairvoyance and metaphysical abstraction, as in the case of certain bodies concealed by substances impenetrable by sunlight yet discernable, for instance, by X-ray or other powerful artificial means' (G. de Chirico, 'Sull'arte metafisica', in Valori Plastici, April-May 1919, p. 16).Despite the apparent simplicity of Vita silente, the composition illustrates de Chirico's mastery of both practice and theory. While referring to a traditional subject inherited from the Old Masters, later reinvented by Impressionists, he gave it new meaning while subtly showing that the genre also belonged to the metaphysical dimension. As J.M. Faerna writes: 'throughout his long career [de Chirico] spoke with different voices [and] he entered and left different spheres with freedom; but in some sense, the Metaphysical realm was the domain of all his paintings.' (J.M. Faerna, De Chirico, Barcelona, 1995, p. 14).Aside from its rich heritage among de Chirico's oeuvre, the present work comes from the family of the artist's notary, who compiled an eminent private collection of carefully curated Italian Novecento works, assembled during the twentieth century. Having since descended through the family to the present owners, Vite Silente has not been seen publicly since its acquisition in the 1960s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

NICOLAS TARKHOFF (1871-1930)Trois tournesols stamped with the artist's signature 'N. Tarkhoff' (lower left)oil on paper 42.6 x 26.1cm (16 3/4 x 10 1/4in).Painted circa 1920-1925Footnotes:The authenticity of this work has been confirmed by Dr. Oscar Ghez. This work will be included in the forthcoming Nicolas Tarkhoff catalogue raisonné, currently being prepared by the Nicolas Tarkhoff Committee. We are grateful to Guy Abot, Director of the Nicolas Tarkhoff Committee, for his assistance cataloguing this work.ProvenanceDr. Oscar Ghez Collection, Geneva, no. 14368.Private collection, Geneva (acquired from the above in 1989).Private collection, Geneva (by descent from the above).ExhibitedGeneva, Musée du Petit Palais, 1980 - 2000.San Francisco, Harcourts Gallery, Nicolas Tarkhoff, A retrospective exhibition, September – November 1989, no. 25.Nicolas Tarkhoff moved to Paris in 1899 where he attended the École des Beaux-Arts, and soon after, started exhibiting his paintings at the Salon des Indépendants and the Salon d'Automne. His artwork was regarded as pioneering and extremely desirable, and Tarkhoff was granted solo exhibitions at Galerie Ambroise Vollard (where Cézanne, Gauguin, and Renoir had all exhibited) in 1906 and Galerie Drouet in 1909. As early as 1910, an extraordinary list of collectors had acquired his work, including Sergei Shchukin and Sergei Diaghilev. The artist kept ties with Moscow and participated in several exhibitions in Russia; his pictures were included in the Mir Iskusstva (World of Art) exhibitions of 1899, 1911 and 1913. He also exhibited seventeen paintings in Sergei Diaghilev's landmark exhibition of Russian art, Two Centuries of Russian Painting and Sculpture, in October 1906 at the Grand Palais in Paris.Tarkhoff's distinct style aligned him closely with the Fauves, a style indebted to Impressionistic canons as it often stressed varying qualities of light, visibly broad brushwork and an exploration of pure colour. He was continually influenced by Van Gogh and Post-Impressionism, as evidenced by his oft chosen themes of rural landscapes and floral still-life compositions. In particular, Tarkhoff held a fondness for sunflowers, utilising them as a constant vibrant environment through which to develop his Impressionistic style. In this, Tarkhoff was influenced by the writings of Edmond Duranty, who wrote in his 1876 article 'La Nouvelle Peinture': 'Painters must try to capture the motion... and render the shaking of the leaves, the glistening of the water and the vibration of the sun-soaked air...' (Duranty quoted in N. Tarkhoff, Impressions of a Russian Painter in Paris, Ahlen, 1999, pp. 65-66).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

§ Alan Kingsbury (British, b. 1960), 'Still Life with Ballet Dancer', oil on board, monogrammed lower right and inscribed with title and signature to the reverse, 57 x 72cm, framed and glazed.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

§ Darren Baker (British, b. 1976), 'Summer Salad', still life with wine and salad, pastel, signed lower right, 23 x 17cm, framed and glazed, W. H. Patterson label to the reverse.Please note that Artist's Resale Right may be additionally payable on top of the hammer price for this lot, where the price is above the threshold of Euros 1,000, up to a maximum of 4% of the hammer price. Please visit www.dacs.org.uk for more information.

2004 Aston Martin Vanquish 5.9 litre 2+2 Coupe No Reserve Estimate £40,000 to £60,000 Registration: YA04VZL Odometer: 32,850  Colour: Meteorite Silver Fuel Type: Petrol  Engine Size: 5900cc Transmission: Automated manual  MOT: 31st January 2024 -- Last of the hand built Newport Pagnell cars  -- Represent great value today -- Original factory build sheet  -- Important Sports Dynamic Pack  Outside  -- Stunning meteorite silver which presents excellently with no dents or corrosion  -- There's a very small area on the satin black area of the off side a pillar where the door glass has rubbed approximately 10mm of the paint off, probably been left with a flat battery as the door glass drops when opening -- Being over critical, one of the aluminium wiper arms is showing some signs of corrosion -- Immaculate and un marked diamond cut face alloy wheels, shod with near new Michelin Pilot Sport 4's all around  Inside  -- Black cherry leather trim looks in excellent condition with only the slightest sign of wear to the drivers seat bolster  -- Ivory alcantara headlining is in perfect order  -- Heated electric seats  -- Perfect Aston interior which is a wonderful place to be  Mechanicals  -- Extensive history file is evidence that this car has been pampered all its life  -- Legendary Aston V12 engine starts well and soon settles into a nice idle  -- The automated manual gearbox shifts well through the gears, both in manual and automatic modes -- A joy to drive everything feels tight and well screwed together with no undue knocks or bangs coming from anywhere -- History file details a new clutch fitted at 20,000 miles  -- Sold with Aston trickle charger and 2 keys  History  -- Supplied new by JCT 600 Aston Martin agent in Leeds  -- V5C shows 9 previous owners, history file includes copies of every V5 and details each owner from new -- File also shows the car was owned by retired footballer Ian Edward Wright from 2010 to 2012  -- Supplied to current registered keeper by Tom Hartley Cars in 2018 for £80,000, purchase invoice on file  -- Build sheet included shows the following options 2 plus 2 seating configuration   sports dynamic pack  front stone guards  grey brake calipers   body coloured door release  sports heated front seats colour keyed/leather steering wheel   heated front screen  rear park distance sensors  Sat nav system  Powerfold exterior mirrors  Telephone - Integral system  -- There is no service history book present however we have correspondence from Aston Martin stating the vehicle has a full main dealer history from 2004 to March 2008 (7 services including the PDI) by which time the car had covered 13,438 miles  -- The next evidence of service is by Aston Service London in December 2011 at 19,329 miles -- From this point onwards the car has had regular services and repairs carried out by Aston Martin Works, Aston Service London, Christian Lewis and Nicholas Mee -- Notable works include a new clutch assembly replaced by Aston Martin Works at 20,000 miles the engine wiring Harness was replaced at the same time with the total cost for these works coming to £15,000 -- The last service was carried out by Aston Service London on 6th May 2021 with a mileage of 31,045 Our Opinion  One of the very few collectors cars that values have dropped in the past 3 years, we believe the Vanquish is still a modern classic for many many reasons and we can only see the values increase from this point. Its clear that this car has been pampered throughout its life and the service and parts invoice's on file show it has wanted for nothing. A wonderful and unique driving experience, if a Vanquish has ever been on your radar, now's the time to get one of these very special cars bought before buyers start to realise the importance of their place in Aston Martin history and values start to climb again. 

CONTEMPORY SCHOOL Two still life studies. Acrylic on canvas 10' x 8'; 8' x 10'

LE CARRE (John): 'Smiley's People', 2nd impression, 1980: inscribed in black ink to title and opposite page 'For Rick Churchill with  my sincere good wishes from John Le Carre on a beautiful autumn day in Hampstead - Nov 5th 1981, and a smell of woodsmoke coming off the heath..' adding 'the picture on the back is still said by those who know me to be the best..':  'The Pigeon Tunnel..stories from my life': Viking, 2006 FIRST EDITION: inscribed to title page 'Dear John and Anthea, I'm in your debt: chapter 36 on page 302...with much love to you both David aka John Le Carre 26/X/17: with 19 others by Le Carre, including 2 inscribed copies and 2 signed Franklin Library first editions, all but last 2 mentioned in dustjackets, VG, 8vo. (21)

C Moffatt,Still life,oil on canvas, signed and dated 1903,70x88cm.

Mary Fedden,Still life of fruit,two watercolors on paper, signed and dated '00 and '01,framed as one, 21x16cm.

Edgars Vinters,Still life of lilacs,oil on board, signed and dated 96,46x47cm.

English School circa 1900 - Watercolour - Still life of leather bound books, unsigned, 18cm x 40cm, framed under glass

W. Sharpe (British, early 20th Century) - Oil on canvas - Still life with fruit, signed lower right, 25cm x 32cm, in gilt frame

Frederick Thomas Baynes (1824-1874) Still life of grapes and a peachsigned 'F T Baynes' (lower right)watercolour, within an oval gilt frame22 x 18cm

§ Luciano Guarnieri (1930-2009) still life of apples and a vaseoil on canvas58.5 x 79cm

Jean Rose (Modern British) still life of sea shellssigned to the reverse buon fresco 28 x 39cm Framed, but not glazed. The perimeters with some small cracks and the surface perhaps a little dirty, but overall in good order.

Henry Schouten aka Jos Klaas (1857-1927) Still life of poppies and daisiessigned 'Jos Klaas' (lower left)oil on canvas76 x 56.5cm

Henry Schouten aka Jos Klaas (1857-1927) Still life of chrysanthemum and rosessigned 'Jos Klaas' (lower right)oil on canvas76 x 56.5cm

Conrad SCHIERENBERG (1937) Still Life, 1962, Oil on boardSignedRemnants of a label to verso59 x 50cm

Ewan McClure (Scottish Born 1975) ARRFramed oil on canvas'The Red Teapot Still Life' (And Squirrel) 58cm X 74cm Provenance McEwen Gallery, BallaterEwan McClure is a mid-career well respected Scottish artist and has works in the Robert Fleming Collection andThe Royal Scottish Academy in Edinburgh

Kate Wylie (Scottish born 1877-1941) Framed oil on board, signed 'Still Life with Flowers in Vase' 58cm x 28.5cm Condition report Appears in good condition not examined out of frame

Laurence Biddle (British 1888-1968) Gilt framed oil on canvas 'Still Life of a Bowl of Flowers' 31.5cm x 31.5cm Provenance with Porteous - Allison Street, Glasgow, old label verso Condition reportShould read on paper, some paint loss and bubbling, cracking to the paint. and some water marking 

A selection of approximately 20 unframed coloured etchings by Ian Laurie including numerous limited-edition examples - still life, flower studies etc.

A selection of over 50 various unframed etchings by Ian Laurie - mainly signed and some of limited-edition - female nude studies and still life and flower studies together with some prints and others etc.

Two decorative monoprints - abstract landscapes by Ian Laurie together with a selection of 25 various etchings and prints, mainly signed by Ian Laurie - flower studies and still life

Vinyl - 9 Rolling Stones LPs to include Rewind, Still Life, Some Girls, It's Only Rock N Roll, Goats Head Soup, Between The Buttons, Big Hits, Through The Past Darkly, and Sticky Fingers. Condition varies

A PAIR OF GILT FRAMED OIL ON BOARD STILL LIFE SCENE - ONE WITH BADLY DAMAGED GLASS, SIGNED LOWER LEFT A. BURRARD

A GILT FRAMED AND GLAZED STILL LIFE PAINTING OF ROSES, INDISTINCTLY SIGNED LOWER RIGHT, TOGETHER WITH AN OVAL GILT FRAMED AND GLAZED PRINT OF A LADY (2)

A GILT FRAMED AND GLAZED LITHOGRAPHIC STYLE STILL LIFE PRINT OF FLOWERS IN A VASE BY A GUSTEIGER

A GILT FRAMED OIL ON CANVAS STILL LIFE STUDY OF A BOWL, FRUIT AND JUG ON A TABLE

Four pine framed coloured prints all depicting ethnic figures - sold with a still life print and a monochrome image of Newton Ferrers

A gilt framed vintage oil on canvas still life with bowls of fruit, other loose fruit and corn on a cob on a table - signed in the image and verso - 39cm X 49cm

A framed oil on board still life with various items and fruit on a dish - sold with a framed coloured print with sailing vessels, jetty and tower - signed in pencil and dated 1920

ITALIAN SCHOOL (LATE 20TH CENTURY) - Peonies, tulips, poppies and other flowers in an urn, acrylic on canvas, signed indistinctly, framed, 79cm x 68.5cm, frame size 101cm x 90cm, also two other decorative still life oils by different hands. (3)

OLIVER CLARE (1853-1927) - A still life of flowers in bloom, oil on canvas, signed and dated '98, framed, 19.5cm x 24.5cm, frame size 25cm x 30cm, also two other similar oils by the same hand. (3)

Suiveur de Karel van Vogelaer, dit Distelbloom (Maastricht 1653-1695 Rome)Nature morte aux fleursFollower of Karel van Vogelaer, called Distelbloom (Maastricht 1653-1695 Rome)Still life of flowers bears initials 'K.V' (lower left)oil on canvas95.5 x 69cm (37 5/8 x 27 3/16in).For further information on this lot please visit Bonhams.com

Jacob Marrel (Frankenthal 1614-1681 Francfort-sur-le-Main)Nature morte avec un panier de fruits, des coquillages et un lézardJacob Marrel (Frankenthal 1614-1681 Frankfurt-am-Main)Still life with a basket of fruit, sea shells and a lizard signed with monogram 'JM* f' (lower right, possibly strengthened)oil on panel74 x 49cm (29 1/8 x 19 5/16in).Footnotes:Provenance:With Julius Böhler, Munich, 1981, where purchased by the present ownerJacob Marel was apprenticed to the Frankfurt still life artist Georg Flegel until he moved to Utrecht in the early 1630s and trained under Jan Davidsz. de Heem. Here he also came under the influence of the Bosschaert family and Roelandt Savery, all of whom were active in Utrecht at that time. The basket, shells and fruit in the present work are clearly inspired by Balthazar van der Ast's still life, from circa 1635, now in Vancouver Art Gallery, Canada (inv.no. 83.27), which may have been painted before the artist left for Delft. Marrel moved to Frankfurt in 1650 and tutored Abraham Mignon, for whom he later arranged training in Utrecht with de Heem. He continued to travel between Utrecht and Frankfurt throughout his life, forming an important link between two early centres of interest in flower painting.For further information on this lot please visit Bonhams.com

Jacqueline Gougis, French 1926-2021- Floral still life; oil on canvas, signed 'J. GOUGIS' (lower right), signed on the reverse, 100 x 81 cm (ARR)Condition Report: The canvas is secure on the stretcher and sits well within the frame. Unexamined out of frame. Paint surface is stable on the support. Light marks and surface dirt generally. Otherwise in very good condition overall.  

Elise Claudine Arntzenius, Dutch 1902-1982- Floral still life; watercolour and gouache on paper, signed bottom left 'E.C. Arntzenius' and inscribed on the reverse, 18.9 x 24 cm (ARR)Condition Report: Framed, mounted, and glazed, and unexamined out of frame. Minor marks and scuffs to the frame generally. The sheet lies flat within the mount. Very minor craquelure to some of the spots of gouache. Evidence of minor abrasions in areas. Possible minor marks and spots of foxing in areas. Otherwise in good condition overall.  

French School, late 20th century- Still life; oil paint on board, indistinctly signed lower right 'Perain', 25 x 33.7 cm (unframed) (ARR) 

Marc Chagall,Russian/French 1887-1985-Still Life in Brown and Red, and The Red Rooster 1957;two lithographic bookplates in colours on wove,sheets 19.8 x 23cm and 38.8 x 23cm(unframed/mounted)(2)(ARR)

Roy Lichtenstein,American 1923-1997,Poster of Still Life for Gagosian;offset lithographic poster,69 x 84 cm,(unframed)