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A quantity of framed watercolours and prints, including a 15thC map of Yorkshire, still life watercolours of country flowers, etc.

A quantity of framed prints, including a still life, street scenes, and a set of bamboo framed prints featuring 'birds of paradise'

A quantity of framed prints, depicting still life scenes, an embroidered rose, beach scene with a scrabble depicted message, etc., together with two boxed sets of Capri dessert dishes, Chinese abacus, loose napkins, cards and books contained within a silver waste paper bin.

A quantity of framed prints, including street scenes of Lincoln, a blue tit, and a series of still life watercolour prints.

A quantity of framed prints, featuring scene of the Vale of Haselbury Steeplechase, street scenes, still life and embroidered flowers.

A quantity of framed prints, including subjects such as sport, still life, country scenes etc

A quantity of framed prints, watercolours, oils, prints after Renoir, still life of book with candle, scene of a country church.

Folio Society. A collection of maj. 21st century Folio Society editions, all in slipcases and a number still in orig. shrinkwrap. The lot to comprising On the Origin of Species by Charles Darwin, The Stones of Venice by John Ruskin, The Great Game by Peter Hopkirk, My Life and Hard Times & Other Observations by James Thurber, Zuleika Dobson by Max Beerbohm, The Country Child by Alison Uttley (in orig. plastic), The Block Chamber and other Stories by Angela Carter (in plastic), The Ghost of Thomas Kempe by Penelope Lively (in plastic), Edward Lear's Complete Nonsense, The Midnight Folk by John Masefield (in plastic), Sons and Lovers by D. H. Lawrence (in plastic), Birdsong by Sebastian Faulks, Travels with my Aunt by Graham Greene, Wide Sargasso Sea, and 1066 and All That by Sellar and Yeatman. All in slipcases with just a touch of shelfwear. 8vo.

REPRODUCTION STILL LIFE OF FLOWERS, FRAMED ( 14 x 17 )

STILL LIFE WITH FRUIT AND VASE, FRAMED ( 19 x 16 )

Malcolm Haynie Myers (American, 1917-2002). Acrylic on paper painting titled "The Beer Mug" depicting an abstracted still life with a beer mug. Signed and dated 1952 along the lower right.Sight; height: 14 in x width: 19 in. Framed; height: 27 1/2 in x width: 31 1/2 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface appears stable. There are no visible tears, creases, or losses. There are a few minute white accretions throughout, particularly along the right edge, likely original to the artistic process. There is a slight undulation to the sheet. Framed under glass; light wear to the frame including some scuffs and gilt loss. Not inspected out of frame.

Bernard Chaet (American, 1924-2012). Oil on canvas painting titled "Tall Glass" depicting a still life with beautiful flowers in a glass vase, 2000. Signed, titled, and dated along the verso.    With a label from Alpha Gallery along the verso.Provenance: Alpha Gallery, Boston; Private Minnesota Collection.                Unframed; height: 13 in x width: 10 in. Framed; height: 14 1/4 in x width: 11 1/4 in x depth: 2 in.Condition: The colors are bold and bright and the surface is stable. No losses, cracks, or restorations. Light wear to the frame. Verso not inspected.

Jeanette Pasin Sloan (American, b. 1946). Oil on canvas painting titled "Bassano Stripes" depicting a still life with two reflective vessels on a striped background, 1996. Signed along the verso.Unframed; height: 28 in x width: 36 in. Framed; height: 33 in x width: 41 in x depth: 1 1/2 in.Condition: The colors are bold and bright and the surface is stable. There are no tears, cracks, losses, or restorations. Some wear to the frame. Verso not inspected.

Group of 12 pieces traditional Norwegian silver Solje jewelry including:Two large sterling heart brooches with locking safety clasp closures, each marked 925S Norway along the back .Pair of sterling screwback trefoil earrings marked 925S with unidentified maker's mark along the back.One 30 silver circular brooch with six dangles and c clasp closure, marked 830S with butterfly maker's mark along the back.One 830 silver circular brooch with eight dangles and interior scene of couple in traditional clothing dancing, with c clasp closure, marked JE & S 830 S along the back.Two pairs of silver trefoil earrings with three dangles each, each on posts with friction backs, unmarked.One silver circular brooch with three dangles, c clasp closure, marked indistinctly along the back.One sterling silver chevron link bracelet with lobster clasp closure, marked 925 TH.Solje jewelry is traditional, apotropaic jewelry dating back to pre Christian Norway. It is still commonly worn with Norwegian traditional dress (bunad). It is often given as a gift during pivotal life moments like birth or baptism, reaching adulthood, and marriage.(Bracelet) Length: 9 in. Gross weight: 90.8 g.Condition: Some tarnishing and discoloration, most of the filigree in good condition.

Aaron Fink (American, b. 1955). Large oil on linen painting titled "Orchid in Vase" depicting a still life of a large yellow orchid in a glass vase, 2006. Signed and dated along the verso. With a label from Alpha Gallery along the verso.Provenance: Alpha Gallery, Boston; Private Minnesota Collection.Height: 72 in x width: 60 in x depth: 2 in.Condition: The colors are bold and deep and the surface is stable. There are no losses or restorations. Light wear to the exposed edges. The work is not framed.

Farideh Lashai (Iran, 1944-2013)Trees oil on canvassigned lower left in Farsi, executed circa 1996119.5 x 60cm (47 1/16 x 23 5/8in).Footnotes:Provenance:Property from the Varzi Family Collection, Spain'I became inflicted with the magic of orange trees and never overcame it. The trees took hold of me and never let me go, with thousands of hands, thousands of embraces' - Farideh LashaiGraceful, sophisticated and exhibiting a deep reverence for its subject matter, the present paintingss are perhaps the rarest and most significant works by Farideh Lashai to come to auction in recent yearsThe first is a still life painted in the early 1970's when Lashai had just returned to Iran after her studies in Austria, the work sees Lashai at her most naturalistic. Influenced by her contact with the new emergent artistic avant-garde of Iran, including figures like Sohrab Sepehri, Lashai's works from the Tree Series, of which this is the first to appear auction, are a rare glimpse of a painter at the bloom of her artistic maturity. The second, a depiction of trees from the 1980's sees the evolution of her signature expressionist aesthetic. In this phase, the artist moves away from realism, using bold, visible brushstrokes that shape the details of the composition. Movement and vibrant colours replace naturalistic representation, conveying the essence and emotional character of the trees. Here, form is suggested through dynamic lines and hues, emphasizing the artist's emotional response to the subject rather than its literal depiction.Farideh Lashai is remembered as one of the most talented and successful artists to have emerged from within Iran in recent decades. Meticulous, erudite and supremely perceptive, her work is characterized by a mastery of the painterly aesthetic, using the visual vocabulary of abstract and lyrical expressionism in depiction of ethereal natural landscapes, allegorical compositions, and colour fields.Above all, Lashai's enduring talent lied in her conceptual and aesthetic originality, and her ability to draw from established artistic traditions without being confined by their precepts. As an artist with abstraction as her genesis, she is nevertheless unafraid of the concrete, as a craftswoman fluent in the language of the brush, she felt comfortable experimenting with video art, installation and new media, it is this unrestricted, intrepid sense of creativity which is so palatable in much of her work.Lashai has stated that 'when you have doubt and uncertainty, you open the way for the expansion and development of an idea' and her forthright rejection of the objectivity of perception is manifest in much of her body of work, this sense of expressive subjectivity is gloriously exemplified in the present work, which counts as one of her most deftly executed, and technically accomplished paintings. Here, clearly defined, monolithic tree trunks provide a stark contrast to gestural, spontaneous surrounding fauna, punctuated by a vigorous flourish of cobalt that articulating the briskly defined flowers.Like the Expressionists and Emotivist painters that came before her, Lashai's compositions remind us the subjectivity of perception, rejecting a strictly ocular, representational approach to depicting nature and her visual surroundings, Lashai recognizes the transformative effect of perception on a given subject.For Lashai, reality, ultimately, is a fickle concept when its observation is not only channeled through but entirely dependent on our sensual faculties, senses which can embellish, obfuscate, enliven or depress their surroundings. The talent of the poet, artist, or musician lies in this very gap between reality and perception, in being able to give some form of physical or tangible representation to the way our thoughts and feelings colour the world we inhabit.It is this, which leads us to Gorky's proclamation that 'Abstraction allows man to see with his mind what he cannot physically see with his eyes. It is the emancipation of the mind', and it is precisely, this unseen aspect of our surroundings which Lashai so poetically captures.Technically, her fluency, awareness of textural and tonal aspects of paint, and effuse lyrical gestures demonstrate her expressionist approach to the subject matter of nature in striking form.Ultimately, In Lashai's oeuvre, and in the present work in particular, we encounter a vision of the natural world that is far from stale, academic and static, but one which is magnified by our poetic, metaphysical, and emotional responses to its grandeur.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

Rokni Haerizadeh (Iran, born 1978)Sultan Still Life acrylic on canvas signed 'Rokni Haerizadeh' and dated '86' in Farsi, executed in 2007200 x 196cm (78 3/4 x 77 3/16in).Footnotes:Provenance:Property from the Varzi Family Collection, SpainThis 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

Zeinab El Sagini (Egypt, born 1930)Flowers in Pot oil on panel, framedsigned 'Zeinab El Sagini' and dated '2000' (lower right), executed in 200060 x 40cm (23 5/8 x 15 3/4in).Footnotes:Provenance:Property from the collection of AbdulMagid Breish, LondonPublished:Louisa Macmillan, Mysa Kafil-Hussain et others, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, Skira, Milan, 2020Flowers in Pot is a sombre and emotive still life by Zeinab al-Sageny, which predates the nostalgic paintings of The Presence of Place series [see opposite]. While still-life paintings are frozen in time, which allows the painter to focus on space, place, and detail, there is an urgency in this work due to the waning of the fresh flowers. Some of the vibrant yellow and orange flowers are standing tall, yet some droop slowly towards the table, reminding us that time moves on, and life and death persist, even in a still life. Expertly rendering texture and composing with warm tones and gentle hints of light and shadow, Sageny's work has a suggestion of 'home', a place that is ageing and tired, but nevertheless continues to bloom.-Mysa Kafil-HussainThis 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

Farideh Lashai (Iran, 1944-2013)The Forest oil on paper, framedsigned and dated in Farsi (lower left), executed in 197574 x 54cm (29 1/8 x 21 1/4in).Footnotes:Provenance:Property from the Varzi Family Collection, Spain''I became inflicted with the magic of orange trees and never overcame it. The trees took hold of me and never let me go, with thousands of hands, thousands of embraces' - Farideh LashaiGraceful, sophisticated and exhibiting a deep reverence for its subject matter, the present paintingss are perhaps the rarest and most significant works by Farideh Lashai to come to auction in recent yearsThe first is a still life painted in the early 1970's when Lashai had just returned to Iran after her studies in Austria, the work sees Lashai at her most naturalistic. Influenced by her contact with the new emergent artistic avant-garde of Iran, including figures like Sohrab Sepehri, Lashai's works from the Tree Series, of which this is the first to appear auction, are a rare glimpse of a painter at the bloom of her artistic maturity. The second, a depiction of trees from the 1980's sees the evolution of her signature expressionist aesthetic. In this phase, the artist moves away from realism, using bold, visible brushstrokes that shape the details of the composition. Movement and vibrant colours replace naturalistic representation, conveying the essence and emotional character of the trees. Here, form is suggested through dynamic lines and hues, emphasizing the artist's emotional response to the subject rather than its literal depiction.Farideh Lashai is remembered as one of the most talented and successful artists to have emerged from within Iran in recent decades. Meticulous, erudite and supremely perceptive, her work is characterized by a mastery of the painterly aesthetic, using the visual vocabulary of abstract and lyrical expressionism in depiction of ethereal natural landscapes, allegorical compositions, and colour fields.Above all, Lashai's enduring talent lied in her conceptual and aesthetic originality, and her ability to draw from established artistic traditions without being confined by their precepts. As an artist with abstraction as her genesis, she is nevertheless unafraid of the concrete, as a craftswoman fluent in the language of the brush, she felt comfortable experimenting with video art, installation and new media, it is this unrestricted, intrepid sense of creativity which is so palatable in much of her work.Lashai has stated that 'when you have doubt and uncertainty, you open the way for the expansion and development of an idea' and her forthright rejection of the objectivity of perception is manifest in much of her body of work, this sense of expressive subjectivity is gloriously exemplified in the present work, which counts as one of her most deftly executed, and technically accomplished paintings. Here, clearly defined, monolithic tree trunks provide a stark contrast to gestural, spontaneous surrounding fauna, punctuated by a vigorous flourish of cobalt that articulating the briskly defined flowers.Like the Expressionists and Emotivist painters that came before her, Lashai's compositions remind us the subjectivity of perception, rejecting a strictly ocular, representational approach to depicting nature and her visual surroundings, Lashai recognizes the transformative effect of perception on a given subject.For Lashai, reality, ultimately, is a fickle concept when its observation is not only channeled through but entirely dependent on our sensual faculties, senses which can embellish, obfuscate, enliven or depress their surroundings. The talent of the poet, artist, or musician lies in this very gap between reality and perception, in being able to give some form of physical or tangible representation to the way our thoughts and feelings colour the world we inhabit.It is this, which leads us to Gorky's proclamation that 'Abstraction allows man to see with his mind what he cannot physically see with his eyes. It is the emancipation of the mind', and it is precisely, this unseen aspect of our surroundings which Lashai so poetically captures.Technically, her fluency, awareness of textural and tonal aspects of paint, and effuse lyrical gestures demonstrate her expressionist approach to the subject matter of nature in striking form.Ultimately, In Lashai's oeuvre, and in the present work in particular, we encounter a vision of the natural world that is far from stale, academic and static, but one which is magnified by our poetic, metaphysical, and emotional responses to its grandeur.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

Manoucher Yektai (1922-2019)Still Life oil on canvas, framedsigned 'Yektai' and dated '67' (lower left), executed in 196774.5 x 69cm (29 5/16 x 27 3/16in).Footnotes:Provenance:Property from a private collection, CaliforniaThis 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

Marcos Grigorian (Iran, 1925-2007)Still Life oil on canvas, framedsigned 'Grigorian' and dated '72' (lower right), executed in 197276.5 x 66cm (30 1/8 x 26in).Footnotes:Provenance:Property from a private collection, SwitzerlandThis 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

Signed Zhang Jiucheng (1092-1159), Calligraphy, ink on paper, signed and with four collectors' seals, 36.8cm x 29cm Provenance:Property of a Gentleman and by repute purchased in China in the early 20th century and by family descent.Zhang Jiucheng came in first place in the palace examinations of 1132, rising to the post of Vice Minister of Justice. A devout Buddhist throughout his life, he also went by the sobriquet "Wugou (Stainless) Layman." Maintaining friendly relations with the monk Dahui Zonggao, he was a lay disciple who fervently supported Chan (Zen) Buddhism. In the early Southern Song, when the court was still at war with the Jin, he supported the war faction and thus came into conflict with the powerful Prime Minister Qin Kui, who supported a pacifist approach. Found guilty of "slandering court policy with Zonggao," he was banished and lived in exile for fourteen years. This letter, also known as the "Palace Shrine Modelbook," was written for Fang Ci (1102-1172) between 1141 and 1142. The structure of the character forms, despite the influence of the two Northern Song calligraphers Su Shi and Huang Tingjian, is flowing and driving with the force of Mi Fu's style, giving it considerable character.張九成（1092-1159）款 行書《宮祠帖》鏡心張九成（1092－1159），字子韶。紹興二年殿試狀元，累官至刑部侍郎。生平尊崇佛教，亦號無垢居士。向與僧大慧宗杲友善，為禪門護法居士。南宋初，與金對峙，因挺身支持主戰派，觸怒了當權之秦檜，遂以「與宗杲謗訕朝政」罪名，謫居流放達十四載。 此札或是寫予方滋（1102-1172），則成書於紹興十一、二年間。字形結體雖有蘇、黃兩家遺韻，但見驅筆流暢，縱橫使轉之勢亦見米芾流風，頗富個性。 Condition Report: restoration to paper and ink writingtear to the paper and fadingCondition Report Disclaimer

Ewan Cameron (b.1962) - still life of vegetables, kitchen pots and utensils, a bottle of pale ale, tin of Bass and a glass of beer signed and dated '96 lower right, 44cm x 64cm framed Location:If there is no condition report shown, please request

A mixed lot of framed and glazed prints to include a D'Ogly John Parisian café scene print, along with a still life watercolour of a board of apples, and a similar example painted in oils on board, along with various picture frames, and a 19th century watercolour study of a boy with a musical instrumentLocationIf there is no condition report shown, please request

A group of four framed oil paintings to include one by D. Arkey 1996 still life of a fruit on a table, and another of apples in a bowl by a stoneware jug, inscribed verso 'Artist M. Lloyd Sterling c 1979 and two others unsignedLocationIf there is no condition report shown, please request

Pictures to include Schemel - a harvest scene, a Buikema - winter landscape, FW Morris still life and other oilsLocation:If there is no condition report shown, please request

John Sherrin: watercolours, still life of roses, 10 1/2" x 15", in wash line mount and gilt frameCondition:No visible major damages or losses.There are some thrips in the picture around the mount.The painted surface is 10 1/2" x 15".Please be wary that we do not pack and or post pictures.

An oil on board, still life of summer flowers, 8 3/4" x 7", in gilt frame, an oil on board, still life of peaches and flowers, 8 1/4" x 11", in gilt frame, and an oil on board landscape, 7 1/2" x 11", in gilt frame

L. WILFORD (19th/20th century) A still life study of flowers signed lower left, oil on canvas, 44cm x 65cm

MONOGRAMMIST C.S.H. A still life study of flowers in a glass mug and shellscirca 1890-1910, monogrammed lower left, oil on canvas, 44cm x 32cm

V. P. Proctor (20th century) Still Life with Flowers, oil on canvas, 50cm x 39.5cm; another similar (2)

An oil on board, A Still Life by Carl Koebler.70cm x 100cm including frame.

FRANCIS YULE (SCOTTISH b.1928)  STILL LIFE WITH SEAFOOD  Pastel, signed lower right, 36 x 46cm  Label attached verso Condition Report:Available upon request

SIMON HOPKINS "Still life study of fruit on a ledge", oil on board, signed and dated '95 lower right, 41 cm x 31 cm

FLORENCE ENGLAND "Still life study of roses in a glass vase", watercolour, signed lower left, 49 cm x 37.5 cm, another similar by the same hand, 35 cm x 25 cm, AFTER T S ALLAN "Stow on the Wold", black and white etching, signed and titled in pencil to the margin, plate size 11 cm x 15 cm, , together with "Lower Slaughter", "Castle Coombe" and "Milton's Cottage Chalford St. Giles" by the same hand and various other decorative pictures and prints

BIDDY BUNZL "Abstract study in blues and purples" gouache on paper, initialled lower right with blind studio stamp, 75 cm x 56 cm together with C. PAYNE "Rosy pears" still life study, oil on board, signed lower right, inscribed and dated 2015 to back, 25.5 cm x 30.5 cm ARR and EDWARD RENNIE (b. 1966) "Untitled" acrylic, 66 cm x 66 cm (ARR) (3)

A collection of assorted vintage postcards, subjects include Street scenes, adverts and still life genres

A remarkable, emotive, and rare WW1 nurses’ album, compiled by Voluntary Aid Detachment Nurse, Maude Alice Lineham (1883-1967). The album was carried by Maude during her time serving as a nurse at Spondon House Hospital, Derby, Derby Royal Infirmary, and the Leicester Royal Infirmary. Published records confirm that she served as a Red Cross Volunteer from November 1st 1914, through to October 1st 1917. During her time on the hospital wards, caring for wounded servicemen, it’s assumed that Maude would have passed around her book, allowing the injured men to write poems, give accounts of their service, and also profusely illustrate on the pages. Many regiments from the British Army are represented, with one Scottish solider, John J. Ferguson from the Seaforth Highlanders giving a written first hand eight page account of the famous Christmas truce, writing on Christmas Eve that ‘We started singing carols, they applauded us, they sang and we replied’. He later added that ‘We gave them three cheers (British ones) when they sang ‘God save the King’ in English. John Ferguson goes one to talk about the general mood, and famous football match played on Christmas Day, adding ‘It was like living in a different world - here we were Christmas Day in the trenches, and able to walk about with our ‘heads up, some of our men even left the trench to play football - a party from B company went over and were photographed with the Germans’. Another page, written by Sgt Richard Jones of the 1/5th Kings Liverpool Regiment has a small piece of coarse white fabric stitched to the page, and states that it is ‘A piece of a German white flag. The flag was taken from a prisoner who surrendered with 120 more, at Festubert on May 17’ 15 to the British (this would have been from the Battle of Festubert, fought between May 15th and May 25th, in the Artois region of France). Some of poems within the album clearly are odes to Maude, praising her ability as a nurse as the men were rehabilitated. The illustrations are in pencil, pen and ink, and watercolours, with the subject matter ranging from caricatures to landscapes and still life. Some of the illustrations are of high quality, clearly made by some talented artists. One charcoal head and shoulders portrait of a young lady is believed to be Maude, sketched by one of the soldiers under her care, and signed to the bottom left. A number of the illustrations and entries date to the pre-WW1 era, with these likely having been made during Maude’s teaching career. Notes: Maude Alice Lineham was born in Derby in 1883, the daughter of John Wood Lineham and Hannah Hobson. The first page of the book is written in Maude own hand, stating her name as Maude Alison Lineham, with a date of Jan 1903, and the address if Mount Pleasant, 260 Burton Road, Derby. The 1911 census clearly records her middle name as ‘Alice’ and it’s unknown as to why she records it as Alison. By the time of the 1911 census, Maude was 28 years old and still living with her parents and two siblings at the Mount Pleasant address. Her occupation in 1911 was recorded as ‘School Teacher, Private’. By November 1914 she’d volunteered as a nurse within the Voluntary Aid Detachment, under the umbrella of the Red Cross. It’s believed that Maude never married, and she passed away in Bromley, London in 1967.

A Collection of framed artwork including a small oil on canvas still life painting depicting dead roses, nude sketches etc. this lot cannot be posted

Giovanni BARBARO (1864-1915), Gilt framed Still life watercolour with cherries and oranges. 98cm x 51cm. NO RESERVE

A framed modern art still life oil painting and an interesting framed Beatles fans on a beach Ringo Paul print dimensions 75x67, 52x52cm approximately

Roy Brooks: three large mid 20th century pencil sketch still life drawing portraits of nude women framed and glazed

A signed framed print of Concorde framed and glazed; a pair of still life prints and a pair of French furniture prints.

S. G. EMMERICH de SOUZA (Brazil) - oil on board, still life shop front, signed and dated '94, 30 x 5cm.

Phyllis Bray (1911-1991), a still life study featuring a classical bust and seashells, oil on canvas, 24" x 36" (61 x 91cm).

George Leslie Reekie, a still life of Anemones, oil on board, 18" x 14" (46 x 36cm), unframed.

GEORGE WEISSBORT (1928 - 2013)STILL LIFE tomatoes, grapes and a bowl on a cloth.Canvas on board, 13ins x 16.5ins (33cm x 42cm)

GEORGE WEISSBORT (1928 - 2013)STILL LIFE, grapes, pewter mug and tomatoes, board, 12ins x 16.5ins (31cm x 42cm).

Nancy Lee (20th Century), a still life of mixed flowers and grapes trailing from an urn, oil on panel, 16" x 12" (41 x 30cm).

Robert Morley (20th Century), a still life of yellow flowers, oil on canvas, signed, 21" x 17" (53 x 43cm).

Cote, 20th Century, a pair of still life paintings of mixed flowers, oil on canvas, 24" x 20" (61 x 51cm), in different style frames, (2).

GEORGE WEISSBORT (1928 - 2013)STILL LIFE, tomatoes, jug and decanter, board, 13ins x 16ins (33cm x 41cm)

20th Century, a still life of colourful mixed flowers, oil on panel, indistinctly signed, 20" x 16" (51 x 40cm).

P. Gabriel (20th Century), a still life study of mixed flowers in a glass vase, oil on panel, signed, 20" x 16" (51 x 41cm).

Ellerton, 20th Century, a still life study of a bust and plant, oil on canvas, signed, 20" x 24" (51 x 61cm).

GEORGE WEISSBORT (1928 - 2013)STILL LIFE tomatoes and mug, board, 10.5ins x 13.5ins (26cm x 34cm).

GEORGE WEISSBORT (1928 - 2013)STILL LIFE, a jug, apples and cherries, board, 9.5ins x 14ins (23cm x 35cm).

Max Arthur Macauliffe, The Sikh Religion: its Gurus, Sacred Writings and Authors, in six volumes Oxford, 1909six volumes, approximately 350-450 pp. per volume, 22 monochrome lithographed plates across all six volumes, nine photographs of religious buildings and people, anonymous inscriptions dated Calcutta, between 10th September and 1st November 1927, blue cloth 220 x 145 mm.(6)Footnotes:ProvenanceInscriptions dated Calcutta, September-November 1927.Formerly in the Library of Bonebrake Theological Seminary, Trotwood, Ohio (embossed and ink stamps), its name between 1909 and 1954.The six volumes of The Sikh Religion are an impressive achievement, as a feat of writing, of comprehensiveness, and of sheer ability to gather material, both historical and textual. It has remained in print since its publication in 1909 and is the most cited text on the Sikh religion in English.A summary of the contents is as follows:Vol. I, pp. 383, Guru Nanak, his life and writings.Vol. II, pp. 351, the lives and hymns of the second, third and fourth Gurus.Vol. III, pp. 444, the life of Guru Arjan, the fifth Guru, and his hymns, photograph of his shrine.Vol. IV, pp. 421, the lives of the sixth, seventh, eighth and ninth Gurus, and the hymns of the ninth, Guru Teg Bahadur, photograph of the Akal Bunga, and the Baba Atal tower, Amritsar. Vol. V, pp. 351, the life of Guru Gobind Singh, the tenth Guru, his compositions, his stance against idolatry, his epistle to the Emperor Aurangzeb, discussion of the musical measures of his hymns, photographs of the shrine at Fatagarh, Muktsar, the temple at Nander, and an Akali.Vol. VI, pp. 453, various religious texts, including the Bhagats of the Granth Sahib, the life and hymns of Jaidev, and of Namdev, Kabir, and Rav Das, photograph of Namdev's shrine at Ghuman, and of two Sikh holy men, index.The Preface opens: 'I bring from the East what is practically an unknown religion'. While, crucially, presenting the newness and distinctness of Guru Nanak and the Sikh religion, Macauliffe also made connections and drew analogies between it and Western religion and philosophy. In a lecture given in Paris, he stated that he was 'not without hope that when enlightened nations become acquainted with the merits of the Sikh religion, they will not willingly let it perish in the great abyss in which so many creeds have been engulfed'. His translation of the Guru Granth Sahib was the first to be accepted by the Sikh community. He had begun to publish parts of his work as he went along as early as 1897, and in 1900 his partial translation of Sikh scripture was published as Holy Writings of Sikhs, in which he had been assisted by Pratap Singh Giani, a Sikh scholar. He also acknowledges in his preface his debt to the Rajah of Nabha, Sir Rajinder Singh, the late Maharajah of Patiala, Rajah Ranbir Singh, the Rajah of Jind, and Sardar Ranjit Singh of Chichrauli. The Rajah of Nabha, in particular, for instance, 'has at considerable expense caused the thirty-one Indian rags, or musical measures, to which the hymns of the Gurus were composed, to be written out in European musical notation by a professional musician whom he employed for the purpose' (preface, p. xxvi). But it was to be sixteen years from his resignation from the Civil Service until the final publication of his magnum opus.For a good account of Macauliffe's work and career, see Harbans Lal, 'The Western Gateway to Sikhism: the life and works of Max Arthur Macauliffe', in K. Brown, Sikh Art and Literature, London 1999, pp. 129-142.Max Arthur Macauliffe (1841-1913)Macauliffe was born in Limerick, Ireland, and was educated at Queen's College, Galway. He joined the Indian Civil Service in 1862 and was posted to the Punjab in 1864, becoming a deputy commissioner at Ferozpur in 1882 and a divisional judge in the same district in 1884. Born a Protestant, he converted to the Sikh religion (while not adopting its external signifiers) and resigned his position in the ICS in 1893. At the time he was derided by his employers for having 'turned a Sikh'. He lived at Amritsar and soon became deeply interested in the Sikh religion. Between 1875 and 1881 he published four articles on Sikhism in the Calcutta Review and had begun to learn the languages of the Guru Granth Sahib.The India Office had commissioned a German missionary and scholar, Dr Ernest Trumpp, who had learned Arabic, Sanskrit, Hindi and Sindhi, to translate the Granth into English, but the partial translation (Trumpp had given up after seven years in despair), which appeared in 1877, was unacceptable, indeed offensive, to many Sikhs. Macauliffe undertook a new translation with the encouragement of Sikh scholars and other figures in the community. He received finanical assistance from Rajah Bikram Singh of Faridkot, as well as Rajah Hira Singh of Nabha, Maharajah Rajinder Singh of Patiala, Rajah Ranbir Singh of Jind, amongst others. Though he saw his labours as serving the political interests of the Sikhs, he by no means saw them as anti-imperial. He saw the Sikhs as potential allies for the British, in a pamphlet with the significant title A lecture on the Sikh religion and its advantages to the state.He employed gianis (professional interpreters of the Sikh scriptures) to help him. In an unprecedented decision, Macauliffe asked that the completed work be scrutinised by a committee of Sikh scriptural scholars, who suggested various emendations and gave it their seal of approval, both linguistic and theological. As well as translating the Granth, he decided to include biographies of the ten gurus of Sikhism and of the Bhagats, the Sant poets whose works also appear in the Granth. When he completed his work, he moved to England, accompanied by his great friend and adviser, Bhai Kahn Singh, the celebrated Sikh scholar, who helped him correct the proofs of his book. In 1909 the Clarendon Press, Oxford, published Macauliffe's The Sikh Religion. Macauliffe, who was unmarried, died in West Kensington, London, on 15 March 1913. His personal assistant remarked in his memoirs that on his death bed, MacAuliffe could be heard reciting the Sikh morning prayer, Japji Sahib, ten minutes before he died. The Sikh Educational Conference passed a vote of condolence and the Sikhs of Rawalpindi set up a Macauliffe Memorial Society to raise funds to establish a library in his memory, but the amount collected was insufficient. Among those who subscribed, and sent a letter of support, was the Lieutenant-Governor of the Punjab, Sir Michael O'Dwyer. The money was eventually given to Khalsa College, Amritsar, to fund an annual Macauliffe Memorial Medal for the best student in Sikh theology and history. The medal is still awarded on an occasional basis. (Partially adapated from the Dictionary of Irish Biography).For a fine and rare copy of Macauliffe's text, presented by the author to the Duke of Connaught in the year of publication, see the sale in these rooms, Bonhams, Islamic and Indian Art, 21st May 2024, lot 195.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

K.J BALLARD (XX) A framed oil on board still life of a vase of flowers. Nude painted verso with details. Image size 65cm x 58cm

GEORGE LESLIE REEKIE (1911-1969) Framed oil on canvas still life signed bottom right and dated 1968 52cm high 108cm wide