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§ Laurence Stephen Lowry RBA RA (British, 1887-1976). 'Huddersfield', offset lithograph in colours on wove paper, 1973, from an edition of 850, signed in pencil 'L.S. Lowry' lower right, with the Fine Art Trade Guild blindstamp lower left. Published by Henry Donn. Image size: 45 x 57cm. Paper size: 60 x 71.5cm. Unframed, in mount. Provenance: Purchased in the 1970s by the vendor. The original oil painting on canvas was produced in 1965 and is held in The Huddersfield Art Gallery. Please note that Artists Resale Right maybe additionally payable on top of the hammer price for this lot, where above the threshold, up to a maximum of 4% of the hammer price, visit www.dacs.org for more information. Condition Report: § Tape marks to top edge.

Three quarter length portrait of a young man wearing a red jacket and white scarf, oil on canvas, unsigned , with writing verso "Restored at the Con Studios City Rd EC" 46cm x 33cm and a painting of a Cherub oil on board, 27cm x 22cm

§ Clifford Charman (British, 1910-1993). English town and village landscape, one signed and dated '54, oil on canvas, pair, each 39cm x 54.5cm, signed painting inscribed verso, 'Brewery and ruined castle, Cockermouth' . PROVENANCE: The artist's studio. Bonhams, London 1993.Please note that artists resale right maybe additionally payable on this lot up to a maximum of 4% on top of the hammer price where above the threshold, visit www.dacs.org for more information.

Attributed to Mary Beale (1632-1697), portrait of John Ludford, oil on canvas, inscribed John Ludford, Esq. Nat. 14th March 1653, Ob. 15th Sept. 1681, with plaque for Mary Beale, 76 x 64cmCondition Report: Some areas of re-touching/over painting to the face and a few other small areas. Four scratches to the canvas. Some wear to canvas.

Attributed to Theodore Russell (British, 1614-1689). Portrait of a lady, half length wearing a pearl necklace and a white satin dress with blue bows, oil on canvas, bearing antique label verso inscribed 'Supposed to be one of the daughters of Sir Francis Godolphin', label for Harrods Depository, Barnes verso, unsigned, 71 x 60cmCondition Report: Small spot of paint loss to left of the lady's mouth. Areas of re-touching/over painting to the face, the fringe of the hair and bows on the dress as seen under UV light. Scratch on canvas. Wear to canvas.No details on provenance.

REVISED ESTIMATE 19th century Continental school, portrait of an 18th century lady with powdered hair and wearing a red dress and a pendant, oil on canvas, unsigned, 74 x 61cm Condition Report: Extensively overpainted and repaired. Most notable to the face, chest and hands. The largest repair runs from the middle of her forehead down to her top lip. There is over painting throughout, some of which can be seen with the naked eye.Cracking to picture surface throughout.The back of the canvas has has some kind of coating put on it but it is not re-lined.

Continental school, oil painting seascape with ships and rowing boat. Signed indistinctly 'Kjin'?. 24.5 x 39.5cm. Framed.

Nevill Johnson (1911-1999)The Year of Grace (c.1946)Oil on canvas, 25 x 35cm (9¾ x 13¾'')Provenance: The artist's family up to 2006.This painting is a second and extremely similar version of the work exhibited at the Victor Waddington Gallery in 1947; it was one of two works apparently given as a gift by the artist to his mother and they remained within the family until 2006. Painted around the same time as Kilkeel, there is again a clear response to contemporary international events; a mushroom cloud emerging from the sea, half-destroyed buildings and a strangely-shaped form that appears to be a bone, echo the atomic threat of the time. The figure to the left appears to be one of the pieces of driftwood that Johnson incorporated into his post-war paintings, while the central image of the Mother and Child has echoes of an altarpiece in its elegantly carved figures that suggest redemption and hope at the same time as expressing vulnerability.While the present painting is witty, elegant and brilliantly crafted, recalling in its precision Johnson's early friendship with John Luke, it also expresses his anger at the 'lies and violent rhetoric' of war.Dickon Hall

Sean McSweeney HRHA (1935-2018)Pool Áth na Beitheoige (1998)Oil on canvas, 91 x 122cm (35¾ x 48'')Signed and inscribed on stretcher verso, Opus No.98-189Exhibited: Taylor Galleries, Dublin, 'Bogland Shoreline Sligo', October 1998, catalogue no.49.A sense of place is very important to Sean McSweeney's process, his compositions are focused around one small area in Sligo where he has lived from the 1980s. By confining himself to this particular area it allows him to get to know the landscape and its environment intimately. His work is characterised by an enduring act of trying to extract the beautiful from the more mundane aspects of the natural environment. On finding the bog pools in Sligo he remarked "They gave me an opening back into painting, a private space, and another world." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012)While working within the tradition of Irish landscape painting, McSweeney's art has its own unique character defined by their abstract style, the bog pools reduced to rectangular shapes surrounded by intruding grasses and plants. The coastline is a horizontal line separating land, sky and sea. While often painting on a small scale, this present work is much larger and more impressive. With the bogland that has been cut away you are looking at framed pools, the light centre with sky and flowers reflected in it, surrounded by the dense green undergrowth.In speaking about his relationship to the landscape he remarked "in the early days, certainly it was memory... a romantic view. That all changed when I went to live in Wicklow. Living in the landscape - living through tough winters was a great challenge... It hardened things up. I got a lot more structure in my work." (True West, Interview with Brian McAvera, Irish Arts Review, Autumn 2012) This is reflected in how he breaks down the canvas first with colour, using rigorous brushwork often aided by a palette knife. Often, he paints the entire canvas one colour and then introduces another into to it to see what might emerge, an organic process that captures the natural rhythms of the landscape and changing light. Niamh Corcoran, 2021

Walter Frederick Osborne RHA ROI (1859-1903)Landscape with Sheep, and Rising Moon (1893) (Possibly the painting entitled 'Peaceful Eve')Oil on canvas, 50 x 68cm (19¾ x 26¾'')Signed and dated (18)'93Provenance: Sale, these rooms 14/12/1994, lot no. 28; and 26/9/2018, lot no. 82 as 'Moonrise'.Exhibited: Possibly Dublin Arts Club, 1894, no. 73, entitled 'Peaceful Eve'.Literature: Possibly Jeanne Sheehy, Walter Osborne, Ballycotton, 1974, cat. No.406, p.137.A moon rises in a clear blue sky, heralding the approach of evening, clouds appear beyond the horizon, while in the foreground sheep graze peacefully in a meadow. Walter Osborne's picture is dated 1893, and this was a busy period in his career, when he was undertaking official portrait commissions, painting informal studies of his family, genre scenes in Dublin, and making excursions to Co. Galway, yet also finding time to paint landscapes around Co. Dublin, such as this tranquil rural scene. (1) With its mixture of farmland and scrubby fields it may be set near Foxrock, south of Dublin, where Osborne's fellow painter J.B.S. McIllwain lived.Like his father animal painter William Osborne RHA (1823-1901), Osborne had a strong affection for animals, and he depicted them with exactitude and empathy. He had earlier painted shepherds and their sheep in villages and farmland in England. In this painting he shows a flock of sheep untended, grazing peacefully, or looking out of the picture with curiosity, as if at a viewer. The rising moon, associated with fertility, the cycles of life, and the regeneration of crops and animals, had had emotional and symbolic importance for artists of the Romantic period, for example Turner, Caspar Friedrich, Samuel Palmer and James Arthur O'Connor; and for the French Barbizon artist Daubigny, with his atmospheric evening scenes of shepherds with their flocks and the rising moon.Osborne's painting shows a daylight scene, but the foreground in shadow and the rising moon are suggestive of the approach of evening. The pastures and trees are painted freely in earthy green, dun and ochre tones. But the sky, a pale, transparent blue, and the lozenge-shaped moon, have an extraordinary brightness and clarity. The moon's edges, slightly blurred, cast a warm glow, and the light brightens the fluffy clouds beyond the horizon. Osborne combines a careful Naturalism with a deeply lyrical feeling for nature. In many such pictures the foreground is in shadow, but sunshine lights up a distant landscape, buildings or clouds, (as for instance in 'Loiterers', 1888, sold in these rooms, 9th December 2020), suggestive of a wonderful sunny world beyond.The exact title of Osborne's picture is not known, but it may possibly be identified as Peaceful Eve which was exhibited at the Dublin Arts Club in 1894, and which was praised by the art critic of the Irish Daily Independent:"Peaceful Eve, a splendid conception of a peaceful country scene just as twilight shadows are darkening into night. The combination of deep shadows with the lighter shades where the fading sunlight still lingers on the uplands, is beautifully brought out. The artistic eye will also note ... the rising moon as it tinges with its mellow light a piled-up bank of clouds which are just beginning to show over the ridge of the eastern hills" (2) Julian Campbell, February 20211) eg. Landscapes such as The Thornbush, 1893 and Milking Time, c.1893 may have also been painted at Foxrock.2) Irish Daily Independent, 18 Jan. 1894, quoted by J. Sheehy, Walter Osborne, 1974, p.137

Jack Butler Yeats RHA (1871-1957)The Belle of Chinatown (1943)Oil on canvas, 35.5 x 46cm (14 x 18")SignedProvenance: Purchased at the 1943 exhibition by well-known collector Jack Toohey. Sold in these rooms 11th December 1990 Lot 45, thence by descent.Exhibited: 'Later Paintings' Jack B Yeats Exhibition, Victor Waddington Gallery, Dublin Nov 1943, Cat. No. 12;'National Loan Exhibition' Jack B Yeats Exhibition June/July 1945, Cat. No. 126;'From Yeats to Ballagh' Arts Council Exhibition, Lunds Konsthall, Sweden, April-May 1972, Cat. No. 52Literature: 'Jack B Yeats: A Catalogue Raisonné of the Oil Paintings' Hilary Pyle, Vol 11, Cat. No. 582 p535The genesis of this intriguing work is found in sketches of 1904 and 1905. In 1904 Yeats travelled to New York where an exhibition of his work had been organised by John Quinn. Whilst there he was intrigued by the sights of the city, especially its cosmopolitan mix of races and its streetscapes of signs and advertisements. He visited and sketched Chinatown several times. The young girl with the large flowery hat, the "Belle of Chinatown", is found in the pages of one of these New York sketchbooks (83, X180, Yeats Archive, National Gallery of Ireland). He drew a second sketch of the figure a year later when he was staying at Freshford with J. M. Synge. This is inscribed 'Chinatown, New York'. Yeats has elaborated on these earlier drawings a great deal in this painting created forty years later. The child stands in the daylight in front of a darkened side-street. Next to her in the full glare of the light is a stall on which are displayed an array of hats at 5 c each. An old man, the vendor, is seated behind it. The contrast between youth and age is sharply observed with the man's gaze directed at the bizarre sight of a tiny girl wearing the enormous hat. The dramatic changes in light caused partly by the scale of the buildings also fascinated Yeats. On the left hand side numerous marks of yellow and red indicate the colourful signs and banners of Chinatown. The richly textured use of paint conveys the steep perspective of the streetscape while imparting a strange vignette of the city, reconstructed and enriched by Yeats's combination of memory and imagination. A related painting is "The Public Letter Writer", 1953, (Private Collection) which is also based on his memories of New York, highlighting again cosmopolitan life. Dr. Roisin Kennedyi. Hilary Pyle, Jack B. Yeats. A catalogue raisonné of the oil paintings, 1992, II, p.535.

Katherine MacCausland (1859-1928)Serving Dinner Oil on canvas, 101.5 x 86.5cm, (40 x 34'') Signed and dated 1890Provenance: Sold, these rooms, Important Irish Art Sale, 30th May 2008, lot 100, where purchased by the present owner.During the late 19th and early 20th centuries, the artistic schools and colonies of France enticed painters, writers and sculptors from throughout the western hemisphere, all on a quest for cultural stimulation. Among them was Katherine MacCausland, a contemporary and friend of John Lavery, Robert Louis Stevenson, John Singer Sargent, Frank O'Meara and many others. Moving to Paris first, MacCausland studied for a period at the Academie Julian before moving outside the city to settle at Grez-sur-Loing. Her exact date of arrival at Grez is not known but photographic evidence puts her in the colony at the same time as Robert Louis Stevenson, who left in 1883, just as John Lavery was arriving. MacCausland remained here for a period of years, settling into the community and buying a house. She was a fond figure and became known as 'Miss Mac' by the townspeople. In the mid-1890s, MacCausland moved into Brittany, stopping first in Pont-Aven before making Concarneau her final destination in 1912. She lived here until her death in 1930.By this timeline, it can be assumed that the present lot was painted in Grez-sur-Loing, however, the elderly woman serving the meal bears a striking resemblance to a well-known innkeeper from Pont-Aven. Marie-Jeanne Gloanec ran the Pension Gloanec, which was a small auberge famous amongst émigré artists. Gloanec was a proficient cook and she encouraged lively discussions and debates which fuelled artistic imaginations. Birge Harrison wrote of her '...dear, wizened, motherly woman. She was an excellent cook and took great pleasure in the company of her artists'. Perhaps this intimate scene was devised on a trip to Pont-Aven and pays tribute to a woman who cared for 'her artists' as a mother would her children. With the faces of the other figures being in shadow, the woman's facial expression is the emotional anchor for this piece. The downturned mouth suggests a weariness that is further emphasised by the slump of her shoulders. Her exhaustion exudes throughout the painting, blurring lines and softening edges until it rests over us with the sense of tired contentment that can only be brought about by the end of a hard day's work. The man in the background slips from the shadows, seemingly happy in his own solitude, while the children to the front appear subdued with the impending comfort of food.A skilled artist, MacCausland's work is now all too rare, however she is rightly honoured in Grez-sur-Loing where her painting, La Mère Moreau, still hangs in the town hall.Our thanks to Mary Stratton Ryan for all her research.

Robert Lenkiewicz (1941-2002) a fine painting, oil on canvas, 'Study of Karen', signed and titled verso, 107cm x 91cm, framed, Provenance - purchased directly from the artist by the current owner in 1995.

Beryl Cook (1926-2008) oil on board, 'Family with a Transistor ', signed 53cm x 36cm, framed. This rare painting was acquired by the current owner at one of the artists first exhibition at the Plymouth Art Centre in 1975.

Zhang Enli (B. 1965)Wooden Shelf 2012 signed in Chinese and dated 2012; signed and titled in Chinese and dated 2012 on the reverseoil on canvas250 by 200 cm.98 7/16 by 78 3/4 in.Footnotes:ProvenanceShanghART Gallery, ShanghaiAcquired directly from the above by the present owner in 2013Crossing the boundaries between figurative and abstract, the real and the imaginary, and the singular and the ordinary, Wooden Shelf is a sterling example of Zhang Enli's works on canvas. Born in 1965 in Jilin Province, China, Zhang Enli was instinctively drawn to working with familiar and everyday objects striving to capture their essential and organic qualities. The expressive lines we see in this present work are influenced by traditional Chinese brush techniques and underpinned by the structure of pencil-drawn grids. Here, immersed in the inherent space of the canvas, the wooden shelf almost appears to dissolve into the thin layers of paint. Zhang Enli wants his viewer to recall and reflect upon the raw essence of painting, exemplified with his use of colour and line as a means to help the viewer explore the trivial matters of this world. The result is simple yet sublime, evoking a harmonious and ethereal quality that is central to his oeuvre. Zhang's works have been recognised internationally; he first exhibited at Art Basel in 2006, followed by a solo exhibition at Hauser & Wirth in 2007 and at Kunsthalle Bern in 2008. Today, Zhang's works can be viewed in institutional collections including the Tate Modern, London and Centre Pompidou, Paris among others.This lot is subject to the following lot symbols: * TP* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

GIACOMO MANTEGAZZA (ITALIAN 1853-1920) THE SECRET LETTER Oil on panel, signed, 35 x 25.5cm (13 3/4 x 10") Condition Report: The painting is unframed and on inspection there are 5 indented vertical chip marks resulting in paint loss, approximately 0.5 centimetre in length, right of centre in proximity to the top edge. There are also 5 horizontal chip marks of a similar nature in a line running to the lower right edge. There is abrasion to the varnished surface near the lower left edge, in an area approximately 7 by 5 centimetres. At the extreme edges there are general signs of wear and abrasion, which is not unusual, due to past framing. .

•CHARLES S (PIC) HIGGINS (BRITISH 1893-1980) L'IDEE DES SACRIFICES Oil on board, signed 'Pic' and signed, inscribed with titled and dated Dec. '48 verso, 39 x 63cm (15 1/4 x 24 3/4") Gimpel Fils label verso Condition Report: The painting is unframed and board is noticeably uneven and creased in the area of the lower left corner. There is a very light diagonal slight rub mark running from top centre to the figure cluster on the right and the board is moderately frayed around the edges and at the corners. In general some very light marks here and there.

BRITISH SCHOOL (LATE 18TH / EARLY 19TH CENTURY) PORTRAIT OF A KNIGHT OF THE KNIGHTS TEMPLAR - POSSIBLY THE 2ND EARL OF ROSSLYN Oil on canvas, 112 x 94cm (44 x 37") Condition Report: The painting, although not obvious, has probably been lined and on inspection there are two protruding pressure points with pigment rubbing in proximity to the top right corner, areas of paint loss along the top of the forehead, two areas of probable retouching near the upper right edge, paint loss noticeable over the left hand section of the belt, two small areas of chip damage to pigment on the arm on the left. There is a more obvious horizontal line of damage, approx. 3cm in length, with retouching within the lower right quarter section, another similar with retouching, approx. 5cm in length, in the lower left section, and a horizontal score mark line approx. 12cm in length, with some paint damage and probable retouching within the lower right quarter section. There is a light to moderate degree of cracking in the pigment noticeable over the brown areas, located in the bottom right quarter section. There are two more obvious together with five or so less obvious blemish/chip marks on the canvas surface, within the bottom left quarter section and generally some light scoring/abrasive lines overall. Two small pressure protrusion areas in the canvas, in proximity to the lower left edge. .

ALBERT THEER (AUSTRIAN 1815-1902) PORTRAIT OF JUNGEN HERRN Oil on canvas, signed, inscribed 'Wien' and dated 1843, 74 x 59cm (29 x 23 1/4") Condition Report: On inspection the painting appears to have been lined. There are two holes in proximity to each other located at the middle of the right half section, through the canvas, one in an area of greater than one cm sq. and the other less than one cm sq. there is light to moderate craquelure evident over the canvas being more noticeable in the top left, with the result of one tiny piece of pigment loss, and the top right quarter sections.

BRITISH SCHOOL (18TH/19TH CENTURY) FIGURES AND HORSES BY A VILLAGE INN Oil on canvas, 49 x 59cm (19 x 23") Condition Report: The painting appears to have been lined and there is light craquelure over much of the canvas surface and also a noticeable vertical line of restoration work, approx. 10cm in length, at the lower right edge of the canvas, running down to the corner.

JOHN A FORD (SCOTTISH FL. 1881-1923) EAST COAST FISHING VILLAGE Oil on canvas, signed and dated 1888, 55 x 76cm (21 3/4 x 30") Condition Report: The painting has been lined. There is light craquelure over a few areas, including the sky, upper middle but most evident, to a heavier degree over the lower middle section and areas of the lower right quarter section.

•DAVID TONER (SCOTTISH B. 1944) HOUSE AT MIRRLEES DRIVE Oil on canvas, signed, 61 x 76cm (24 x 30") The subject of the painting is the house lived in by Dr H. E. C. Cargill Thomson Provenance: The Late Dr Helen. E. C. Cargill Thompson Condition Report: The pigment and canvas are in good condition with no issues to report.

Oil Painting of Young Lady framed in ornate gilt frame, overall size 15" x 13".

Benjamin Williams Leader (1831-1923) British, 'An Old Southern Port', oil on canvas, signed and dated 1901, inscribed verso, 44" x 72", as featured In Ruth Wood's book 'Benjamin Williams Leader, His Life And Painting', published by the Antique Collectors Club.

Circle of Samuel Peploe (1871-1935) Scottish, A churchyard, with an abstract painting to reverse, oil on board, 9" x 11.25".

An Impressionist oil painting on board - a tree lined path with a figure seated on a bench to the foreground, and figures and a building to the distance, signed indistinctly M***** to lower left corner, 51 x 40.5cm, framed Location: RWM

SASELIS ? - Poppies and daisies and other summer flowers in a blue vase, still life, oil painting, signed lower right corner 48 x 37.5cm, mounted in an ornate frame Location: RWM

E HEARNE "Fisherman with nets on sea shore", oil on canvas, signed lower right and lower left, 49 cm x 90 cm CONDITION REPORTS Signed twice. Has a large rip to the bottom left hand corner and cracking in areas, to include left hand and right hand sides, and the bottom right hand corner. There is flaking to the right hand side as well. Re-lined. Has been restored at some point, the area where the storm clouds are darkest has a strange texture, it is smooth and heavy compare to the rest of the painting. See images including under UV for imore information. General wear and tear condusive to age and use.

FRANCES MABEL HOLLAMS (1877-1963) "Pine Needle", study of a horse on a plain wood background, oil on panel, titled top left, signed and dated '39 lower right, image size 33.5 cm x 44.5 cm CONDITION REPORTS Overall condition good. Housed in a plain oak frame. Re. Provenance: from a good local private source from whence came many of the best pieces in this sale. The painting is glazed. Frame size 38.1 cm x 49.5 cm. See images for further detail.

FRANCES MABEL HOLLAMS (1877-1963) "Ladybird", study of a horse on a plain wood background, oil on panel, titled top left, signed and dated '45 lower right, visible image size approx 35 cm x 45 cm CONDITION REPORTS Condition overall appears good though there is a noticeable line appearing to be a scratch on the wood panel vertically from above the horse's right ear to the base of the panel. Re. Provenance: a good local private source from whence came several of the best pieces in this sale. The piece is housed in a Hogarth style frame and glazed. The frame size 42.5 cm x 50.5 cm. The work appears to have sliipped within the frame. See images. Tape was purely agritape and brown paper secured to the back panel the help secure the panel on to which the painting is painted in to the frame, it has now been removed, see images.

A FRAMED MODERN OIL ON CANVAS DEPICTING THE MONA LISA PAINTING INDISTINCTLY SIGNED LOWER RIGHT SIZE - 30CM X 40CM

A COLLECTION OF PICTURES AND PRINTS TO INCLUDE AN OIL PAINTING OF A BLUE TIT, LOCAL INTEREST PRINTS, SNOOKER PRINTS ETC (14)

Yeats, Jack B. 1967 Oil Painting, Early Drawings and Watercolours Exhibition Catalogue for Victor Waddington Gallery, London; Jack B. Yeats Exhibition Catalogue at the Dawson Gallery 1966 and Jack B Yeats in the National Gallery by Hilary Pyle (3)

A large abstract oil painting - 110cm x 84cm

A brass jam pan, together with an original oil painting by local artist Egerton, and other prints.

GILT FRAMED OIL PAINTING OF A WILD HORSE BY KAY BREBNER 23'' X 19''

LARGE QTY OF F/G PICTURES CONSISTING OF FLOWER PICTURES, STONE FARM & OIL PAINTING BY T GODWARD

2 GILT FRAMED OIL PAINTINGS OF FLOWERS & 1 OIL PAINTING OF A PUFFIN

5 F/G PRINTS & WATERCOLOURS & AN OIL PAINTING & PRINT

19THC OIL PAINTING OF A LADY COLLECTING WATER AT THE VILLAGE PUMP

OIL PAINTING ON WOODEN PANEL OF FIGURES AND SHEEP IN A SUMMER LANDSCAPE, SIGNED F SMITH 1915, OLD LABELS VERSO

2 MODERN BRITISH PAINTINGS; ONE A WATERCOLOUR OF A TRAY, DRINKS AND BOTTLE THE OTHER AN OIL PAINTING ON PANEL OF A WOODED VALLEY LANDSCAPE

GILT FRAMED OIL PAINTING BY E.A. WELBOURN

A large modern oil painting of a poppy field; 2 large modern prints.  It is signed indistinctly.size 80 x 90cm

Still life of fruit: Modern oil painting, signed, gilt framed; Beryl Baguley: signed limited edition print, framed and glazed

20th Century School/Portrait of a Tibetan Woman/indistinctly signed/pastel, 37.5cm x 29.5cm/Niall Campion (born 1956)/Ballynahinch River, Connemara/oil on canvas, 48.5cm x 60cm/ and another painting (3)

John P Burr (1831-1893)/Man Smoking a Pipe/half-length portrait/signed/oil on canvas, 19cm x 14cm CONDITION REPORT: The painting is in good condition no restorations.Frame a little tired.

Early 19th Century Naive School/Groom on Horseback Leading a Hunter/oil on canvas, 50cm x 70cm/Provenance: Whitford & Hughes, Cork Street, circa 1970/see illustration CONDITION REPORT: This is a version of an earlier painting, it has been cleaned and there are areas of over painting around the edge where the surface touches the stretcher behind, and more over painting in the sky.The over painting in the sky shows up under UV light, the margin overpaint does not.

Seymour Lucas/After the Circus/a girl suspended on a swing holding her doll, a younger girl looking on/oil on panel, 16cm x 12.5/see illustration CONDITION REPORT: The surface to this painting is slightly dirty and there are 3 tiny fly dot to the bottom margin, otherwise in good condition.The mount is chipped and the frame is good

19th Century Chinese School/A Gathering/a figure lighting fireworks, the onlookers cheering/oil on canvas, 32cm x 41cm/see illustration CONDITION REPORT: Under ultra violet there are signs of small restoration patches in the sky and sign of restoration and over painting in left margin, the main part of the painting with cloud and buildings is fine, see images of back of canvas

Early 20th Century Belgian School/Half Length Portrait of Pierre Briart/oil on canvas, 50cm x 44cm/Note: inscribed verso Copy of original painting by Alphonse Briart, Copy painted by Elvyne Emonds, Brussels 1934

Follower of Fragonard/Blind Man's Buff/oil on canvas, 34cm x 29cm CONDITION REPORT: The painting is poorly restored blotchy repair in two places, top left sky and the roses above gallant very poor, relined

Tom Seymour (1844-1904)/Landscapes/a pair/oil on canvas, 38.5cm x 59cm CONDITION REPORT: The painting of river with rocks, the paint is a little thin in places it may have been slightly over cleaned, it is signed, not reclined and other than thinning it is in good condition, The other is in good condition although the canvas behind the stretcher has been torn, This is not signed.

Fatemeh Eyvazi (*1987), zeitgenössische, iranische Künstlerin, studierte Malerei und Grafik in Teheran und an der UdK Berlin (Master). Ihre Arbeit dreht sich um den weiblichen Körper und Blumen persischer Teppiche, welche dazu verwendet wurden, weibliche Nacktheit in der Kunst zu zensieren. In den letzten 20 Jahren war sie auf zahlreichen Gruppen. und Einzelausstellungen im Iran und in Berlin vertreten. Landschaft mit zwei Horizonten, Öl auf Lwd., u. li. sign. u. dat. 2020, 80 x 60 cm Fatemeh Eyvazi (* 1987), contemporary, Iranian artist, studied painting and graphics in Tehran and at the UdK Berlin (Master). Her work is about the female body and flowers of Persian carpets, which were used to censor female nudity in art. She has exhibited on numerous groupshows and solo exhibitions in Iran and Berlin in the past 20 years. Landscape with two horozons, Oil on Canvas, signed a. dated 2020, 80 x 60 cm

Heinrich Plühr (1859-1953), Maler und Lithograf in Hannover, Fotograf in Hamburg, Pionier der Aktfotografie, Mitglied der Weimarer Malschule und Kunstprofessor in Weimar. "Christuskopf", Öl auf Lwd., o. li. sign., 40 x 32 cm, ger. 55 x 47 cm Heinrich Plühr (1859-1953), painter and lithographer in Hanover, photographer in Hamburg, pioneer of nude photography, member of the Weimar painting school and art professor in Weimar. ''Christ's head'', oil on canvas, o. Left. signed, 40 x 32 cm, framed. 55 x 47 cm

Walter Röhl, Berliner Maler 1. H. 20. Jh., Konvolut von 3 Arbeiten: ein Ölgemälde auf Holz mit einem Blick aus dem Atelierfenster Friedrichsruherstraße 4, Halensee auf den Henriettenplatz, ein (Selbst-)portrait mit Pfeife in Öl auf Lwd., sowie ein ein Herrenportrait in Kohle auf Papier, jeweils handsign. u. dat. 1935/1949/1948, bis max. 74 x 60 cm Walter Röhl, Berlin painter 1st half of the 20th century, bundle of 3 works: an oil painting on wood with a view from the studio window at Friedrichsruherstraße 4, Halensee on Henriettenplatz, a (self) portrait with a pipe in oil on canvas. , as well as a man's portrait in charcoal on paper, each hand signed. u. dat. 1935/1949/1948, up to max. 74 x 60 cm

19TH CENTURY ENGLISH SCHOOL a young girl and her grandmother studying a gravestone in a churchyard, the grave inscribed William Millais, oil on canvas, unsigned, 72cm x 89.5cm Condition: the painting lined and set within a gesso moulded gilt frame with some retouching to the gilding, minor losses and marks to the frame

LENA ROBB (1891-1980) The Pensioner, oil on canvas, signed upper right, 60cm x 49.5cm Condition: the canvas stretched over hardboard, the hardboard with label to the reverse for the artist, her address and the title, set within a painted moulded frame, the painting set behind glass, the canvas surface with some minor marks, some marks to the glass and some minor marks and losses to the paint on the frameArtists Resale Rights may apply to this lot, please see our Terms & Conditions for full detail.

GEORGE HERBERT JUPP (1869-1925) 'The Spirit of the Brave', oil on canvas, signed lower left, 60cm x 86cm The painting depicting British soldiers hunting Scottish rebels during the 1745 rebellion Condition: some craquelure to the paint surface, some signs of paint on the surface on the picture possibly from decorating, the picture unlined, crease along the top portion due to impact with the stretcher, restoration to the picture around the doorway, the picture set in a tatty gilt frame

PAUL EVANS (LATE 20TH CENTURY ENGLISH SCHOOL) 'Light on the Marsh, Fairfield Church', oil on board, signed lower right, 17.5cm x 15cm Condition: the painting in good condition, some thunderbugs trapped behind the frame and with signs of discolouration to the mount boards, the gilt frame with very minor marks