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IRINA CHARSKAYA (1923-2015) STILL LIFE WITH SHELL 1960S OIL ON BOARD 48CMS X 69CMS

STILL LIFE OF FRUIT OIL ON BOARD - SIGNED

VLADIMIR KISELYOV (XX CENTURY) ''STILL LIFE WITH RED ROWAN'' 1991 OIL ON BOARD 29CMS X 39CMS

A pair of Edwardian coloured prints; four fruit decorated calendar prints; a watercolour of chickens and a still life print and two sampler prints

20th century still life study, Flagon, Ginger jar and other items on a table, oil on canvas, unsigned, gilt framed

UNATTRIBUTED: 19th Century oil on canvas still life depicting two dead ducks, a plate and a bottle of wine. Indistinguishably signed to the bottom right. 37 x 51 cm. Framed.

Montague Leder (1897-1976), oil on canvas, Still life of flowers, signed, gilt framed, 46 x 56cm. Condition - fair to good

RONALD POPE (BRITISH 1920-1997) 'STILL LIFE, KNOWLE HILLS', a tabletop still life study with fruit and containers, initialled bottom right, titled and dated 1947 verso, watercolour on paper, approximate size 27cm x 23cm, together with a landscape by the same hand 'Dark Peak Landscape', initialled bottom right, titled verso, watercolour on paper, approximate size 18cm x 24cm, Condition Report: frames marked in places

Constance Curtis (American, 1869 - 1959) Still Life Oil on Board. Signed upper left. Old label verso. Purchased in 1969 in Annapolis, MDSight Size: 15.75 x 19.75 in. Overall Framed Size: 19.75 x 23.25 in.

Anton Otto Fischer (New York / Germany, 1882 - 1962) Still Life. Oil on Canvas. Signed lower right. Size: 20 x 30 in. Unframed.

Artist unknown, colour print Dutch still life, showing various fruits, leaves, objects and an ornate table edge, within gilt slip and wide dark wood frame, under glass. 35cm 26cm, 52.5cm x 44cm overall.

Artist unknown, a 20th century oil on canvas, still life study, monogrammed E.M lower right, within a moulded gilt frame, 29cm x 39cm & 34.5cm x 44.5cm overall.

MIMI ROBERTS (IRELAND). STILL LIFE WITH PEARS AND CHERRIES. Oil on Canvas, 59cms x 73cms, monogramed, Framed.

‡ GEORGE CHAPMAN (1908-1993) fine and large exhibition quality oil on canvas - 'Church and Mine' with St Davids church at Hopkinstown, near Pontypridd, signed and dated '57, 118 x 146cmsNote by Professor Robert Meyrick: when George Chapman encountered the Rhondda Valley in 1953, he ‘got a fantastic shock.’ It was ‘quite unlike anything I’d seen in my life before,’ he remarked in a BBC television documentary about his work. Chapman had long struggled to find a meaningful subject or a personal vision. The Rhondda finally gave him an object and a purpose. ‘Here, in these valleys,’ he continued, ‘I would find the material that would perhaps make me a painter at last. I was so excited about the whole place, and so nervous too about the tremendous possibilities of the subject.’About this time, Chapman was reading William Faulkner’s novels. As he recalled, Faulkner ‘deals with a particular locality in America, and I began to wonder whether I couldn’t do a similar thing. Whether I couldn’t paint a sort of visual novel of the mining valleys,’ to concentrate ‘entirely on the life that is going on around there, and describe everything that they are doing.’ Over the next fifteen years, Chapman produced hundreds of paintings, drawings and etchings portraying communities across the south Wales coalfields. It was for him a period of critical acclaim and financial success. He staged solo exhibitions at the Piccadilly Gallery and Zwemmer Gallery in London, the Bear Lane Gallery, Oxford and the King Street Gallery, Cambridge, which garnered widespread media attention.From his home at Great Bardfield in Essex, Chapman travelled to the valleys in his Volkswagen T1 campervan. He stayed there for days. When it rained, he remained in the driver’s seat with his drawing board resting on the steering wheel. He returned to Essex each time with ‘20-30 drawings’ that he regarded as ‘notes from which to make paintings.’ Chapman had initially trained as a graphic designer in the 1930s. At Shell Mex, BP and London Transport he worked alongside Paul Nash, John Piper, Graham Sutherland, and Edward Bawden. In 1937, however, he gave up his prosperous career and a comfortable lifestyle to retrain as a painter at the Royal College of Art and Slade School. Yet the strong sense of design that he developed as a poster artist never left him. In Church and Mine, he delights in the patterns made by the tombstones, architectural details of the church, colliery winding gear, and the slag heaps silhouetted as light breaks and heavy rainclouds clear. The visual drama of dark wet days in the steep-sided valleys constantly appealed to him.Speaking of Church and Mine to broadcaster Huw Wheldon in 1961, Chapman explained ‘there’s a lovely old cemetery […] right by the railway. Trains are passing by all the time. In the cemetery there’s a charming old mock-Gothic church. The whole thing has a rather romantic air about it […] and a sense of drama.’ The church featured in the painting is St David’s at Hopkinstown, on the outer edge of Pontypridd. Erected in 1896, it was designed in the Early English style by Cardiff-based ecclesiastical architect E. M. Bruce Vaughan (1856-1919). Rising above the Victorian graveyard is the double-bell gable west elevation of the church. A copper-domed Taff Vale Railway steam engine pulls its heavy convoy of wagons laden with freshly-hewn coal between colliery and washery, and to Cardiff Docks beyond. On the other side of the tracks stand the pithead winding gear of Ty Mawr colliery and the chimney of its coke ovens.Church and Mine featured in an episode devoted to George Chapman in the seminal BBC TV arts series Monitor. Directed by David Jones and produced by Huw Wheldon, it was showcased at the Venice Film Festival in 1961. The painting was shown alongside location footage of the graveyard and locomotive. Chapman later gifted the painting to his friend Alick Potter (1912-2000) – founder, Head of Department and Professor of Architecture at the University of Khartoum in Sudan, and later Professor of Architecture at Queen’s University, Belfast. It hung in the study of Potter’s home at Pennant near Aberaeron. Their friendship was one of the reasons why the Chapmans relocated from Norfolk to Aberaeron in 1964. Church and Mine was shown at Aberystwyth Arts Centre’s 1989 retrospective exhibition, ‘George Chapman: A Welsh Story.’ On Potter’s death in 2000, it was consigned to Bonham’s, Bath.Chapman’s paintings are a record of a particular place and time. In 1958, the National Coal Board merged Ty Mawr Colliery with the Lewis Merthyr Colliery. Production ceased in 1983, and the site was razed to the ground. There is now no evidence of the industrial spoilation that once scarred Hopkinstown. The mine buildings have been replaced by a neat housing estate of cul-de-sacs with names such as Ty Mawr Road and Ty Mawr Parc. Close to the Rhondda River, on a narrow piece of land between Gyfeillon Road and the Treherbert-Cardiff passenger railway line, St David’s still stands – encircled now by mature trees. Church and Mine survives as a reminder of a valleys community – once dominated by coal mining and religion – that has long since changed. As such, it is an important historical record of the industrial face of Wales.Provenance: private collection Pembrokeshire, long term loan by vendor to Cardiff & County Club, Westgate Street, CardiffComments: framed, ready to hang

GWASG GREGYNOG: a collection of publications,‘Eirene: A Tribute’ by David Lewis Jones, with personal reflections by Ron Edwards, 2001, quarter cloth, limited edition (136/200), ‘The Twelve; Y Deuddeg’, with bilingual commentary by Glyn Tegai Hughes, twelve accompanying wood-engravings by John Elwyn, 2000, limited edition (105/250), six booklets from 'Places - Y Man a'r Lle' series: 3. William Owen Roberts / Siarlys Evans 'Caerdydd'; 4. Christopher Meredith / Sara Philpott 'Cefn Golau'; 5. John Barnie / Rhiain M Davies 'Abergavenny'; 8. Gillian Clarke / Margaret Merritt 'Banc Siôn Cwilt'; 9. Myrddin ap Dafydd / David Woodford 'Nantybenglog'; 10. Menna Elfyn / Ozi Rhys Osmond (6), 'Gwyddau Yng Ngregynog / Geese at Gregynog', by R. Gerallt Jones, wood engravings by Colin See-Paynton, translation by Joseph P. Clancy, 2000, four limited edition copies (82-3, 85-6/200) (4), ten booklets from 'Gregynog Poets' series of twelve poems, selected by Meic Stephens and each accompanied by a specially commissioned wood engraving, 1. Euros Bowen / Colin Paynton 'Yr Alarch', 3. Leslie Norris / Anne Jope 'Ransoms', 4. Bobi Jones / Hilary Paynter 'Bwyta'n Te', 5. Harri Webb / Yvonne Skargon 'A Crown for Branwen', 8. Alun Llywelyn-Williams / Harry Brockway 'Seren Bethlehem' (2), 9. Roland Mathias / Peter Reddick 'Craswall' (2), 11. Raymond Garlick / George Tute 'Agincourt' (10) and 'Thomas Olivers of Tregynon - The Life of an Early Methodist Preacher Written by Himself', edited and introduced by Glyn Tegai Hughes, 1979, limited edition (305/375), with separate pages of corrections and additions by the editor (qty)Provenance: private collection GwyneddComments: immaculate edition from an immaculate collection, unused and still in retail wrapping

‡ANDREW VICARI (b.1932) oil on board - still life of flowers, signed, 58 x 65cmsProvenance: private collection BridgendComments: framed

Still life study of fruit and a pan, oil on board, 22.5 x 33cm, gilt framed

19th century English school, still life study of a vase of flowers, oil on canvas, 39 x 33cm, gilt framed and glazed

Cubist still life study of objects, vessels and drapes in an interior scene, oil, 60 x 49cm, framed

Attributed to Robert Bagge-Scott (British, 1849 - 1925), a still life study of apples, basket and Chinese vase, oil, artist inscribed verso, 27.5 x 36cm, gilt framed and glazed

Early 20th century English school, still life study of fruit and foliage, oil on board, 29.5 x 23cm and 20th century English school, castle ruins, 27 x 37cm, both framed and glazed (2)

Impressionist school, still life study of jug, vases and fruit, oil on canvas, indistinctly signed lower right, variously inscribed verso including 1914, 28 x 50cm, framed

Francoise V Clarke-Fort, 'Still Life (2) with blue pot', oil on canvas, signed lower right, title and artist inscribed verso and dated 1958, label verso for James Bourlet & Son, 63 x 76cm, G R Cripps, landscape scene with stream in woodland, watercokour, signed lower right and dated 1920, 54.5 x 75.5cm and two other pictures (4)

JACQUELINE GLEDHILL, floral still life, oil, signed and dated 1968, 60 x 43 cm, and two other pictures, (3).  

A group of assorted folios of mixed prints and watercolours, including still life works by Charlotte Toeplitz, assorted small bookplates, exhibition flyers and related, in black art folio’s (a lot)

A large decorative 20th century painted metalwork dummy board in the form of a still life arrangement with flowers with pierced detail and simple easel back / support, 96 x 77cm.

'Still Life of Flowers', oil on canvas, indistinctly signed, framed. 50 x 60 cm.

'Still Life of Flowers' oil on canvas, indistinctly signed, framed. 41 x 50 cm.

'Floral Still Life', oil on canvas, indistinctly signed, framed and a print of a ballerina, framed and glazed. The former framed 90 x 60 cm.

Alan Fairbrass, 20th century, Two woodcocks, signed watercolour, 41 x 31cm, together with Ben Mason, contemporary, pastel, another by the same hand and Chinese gouache on rice paper, five still life subjects, in a common frame (4)

Continental school, still life of fruit, oil on board, 19 x 24cm

Peter Alexander Hay RA. (1866-1952), (exh.1897), watercolour, Still life of fruit, signed, details verso, 17 cm x 24 cm.

A limited edition Halcyon Days enamels Box, to comprise a limited editions George Stubbs 'Self-Portrait on a Grey Hunter' (6/250), together with three other Halcyon Days of art subjects, comprising 'Still-Life with Blue Roses and Drapery'- Augustus John, another inspired by Monet and one other, all boxed, 'The Carousel' musical Box, two of horse scenes, a replica Bilston Box and one in the form of the Martin Behaim Globe, 9 in total (a lot)

Studio of Miguel Canals (Spanish, 1925-1995), Still life of Mythological Bird perched on a Basket of Cherries, signed with monogram lower left, oil on canvas, stamped "Studio M Canals" to stretchers verso, 36in x 20in (91.5cm x 51cm), the giltwood frame also painted with cherries and inscribed ‘Studium Canals Fecit’, overall 53in x 37in (135cm x 94cm). 

Studio of Miguel Canals (Spanish, 1925-1995), Still life of Fruit - with Latin inscription, oil on canvas, stamped "Studio M Canals" to stretchers verso, 40in x 52in (100cm x 132cm), the giltwood frame also painted with fruit and inscribed ‘Studium Canals Fecit Anno MCMXXXVIII’, overall 56in x 68in (142cm x 172cm). 

English School, five unframed oils and a still life of fruit, oil on canvas, framed

Bernardus Arps (Dutch, 1865-1938) Still life of a Japanese fan, a silver teapot, cup and saucer and sugar bowl on a tan cloth oil on canvas, signed and dated (18)97 upper right 12¼ x 17¾in (31.2 x 45cm), plain gold painted frame (37 x 51cm)

Rosa Branson (British, b.1933) Still life of a brass chamberstick, three pocket watches, two brass vases, a fan, sheet music and books on a table oil on canvas, signed lower right 35½ x 47¾in (90 x 121cm)

E. Weaver (early 20th century) Two charcoal works, comprising: 1. A portrait of a hound, signed and dated 1919, 9 1/8 x 9 1/8in (23.2 x 23.2cm), ebonised frame 2. A still life of sunflowers, signed and dated 1919, 29½ x 12in (75 x 30.5cm), oak frame

After Jan van Huysum (Dutch, 1682-1749) Still life of a bouquet of flowers in a stone vase oil on canvas 17¼ x 12¼in (43.8 x 31.2cm), modern antiqued gilt hollow frame

Rita Smith (British, 21 Artists Group, 20th / 21st century) Still life of a vase of flowers and oranges on a table oil on board, unsigned, unframed 24 x 24in (61 x 61cm) * This painting forms part of a legacy bequest to the Blue Cross animal charity, directly from the artist's estate. Please see lots 293-301 for further lots from this collection.

Attributed to Ida Calzolari (Italian, b.1936) A pair - Still life of fruit, a peeled lemon, a pewter plate and a blue and white china bowl; and Still life of fruit and nuts on a pewter platter oil on metal panel 9¼ x 11½in (23.5 x 29.25cm), ebonised and gilt frames (39.5 x 45.5cm)

Baroness China plates of still life fruit scenes to include two 26.5cm diameter dinner plates and a serving platter (3). In good condition with no obvious damage or restoration.

Four various paintings - MS - Mediterranean landscape, 38 x 49 cm; Hillside view; Ecclesiastical building and a watercolour still life study (4)

Four still life studies - Comellas - Study of marigolds in copper vase, oil on board, signed and dated 1959, 34 x 24 cm; M Richard - pair of flower studies, oil on canvas, signed, 26.5 x 34 cm and Study of wine bottle and glass, oil on canvas, signed indistinctly to reverse, 43 x 36 cm (4)

Harry Walters - Still life study with flowers, fruit and caterpillar, oil on tin, signed and dated 1877 lower right, 30 x 41 cm

'Flower piece', still life study of flowers, acrylic, 86 x 50 cm

[MANUSCRIPT ALBUM - EPISTOLARY ROMANCE]ROBELET, CAROLINE JOSEPHINE; and L.V. ALLAIRE; illustrated by HLELENA ROBELET. [Manuscript album of love letters, titled] Oeuvres Choisis de Videtur et Caroline. [Probably Saint-Omer, France]: 1847. Oblong album, dark green leather-backed black bubble-patterned paper over boards, gilt-stamp to upper board, spine gilt tooled, all edges gilt. 5 1/8 x 8 1/4 inches (13 x 20.75 cm); [120] pp. of manuscript text on album leaves, with a later [2] pp. manuscript text signed Henry Frottier explaining the contents of the album inserted at the beginning, and with a [4] pp. manuscript text titled "L'Abbaye Saint-Bertin. Fragment" laid in; with 28 miniature watercolor illustrations in text, one of which is unfinished, including the watercolor title page heightened in gilt, all by Helena Robelet. Some rubbing and wear to boards and spine, front hinge a bit weak and starting but holding soundly, pale spotting to contents; the laid-in bifolium with some creasing and short edge tears. A fascinating French illustrated manuscript album containing a series of letters between Caroline Robelet and L.V. Allaire, a pair of nineteenth-century lovesick paramours. Their correspondence, written in alexandrine verse, calls to mind earlier epistolary romances, such as the letters of Abelard and Heloise. While the circumstances surrounding the album are curious and the authenticity of the letters as a bona fide non-literary correspondence is unverifiable, Oeuvres Choisis de Videtur et Caroline remains a lovely example of French romantic poetry, made all the more charming by its finely rendered watercolor illustrations.According to the introductory text by Henry Frottier, the grand-nephew-in-law of Caroline, the letters were originally written around 1837, ten years before they were carefully transcribed into this album. Caroline, an extremely beautiful twenty-six-year-old, nicknamed "La Perle de St. Omer," was oftentimes sick throughout her life. L. V. Allaire, who uses the pseudonym Videtur in the letters, was a young doctor. While the exact nature of their relationship is unknown, they may have met as doctor and patient before beginning their epistolary relationship. Whatever the case, their love letters, and the accompanying illustrations, abound with medical metaphors and allusions - Videtur, the self-styled "Medecin Morale," refers to his first letter as a "Cataplasme," or poultice. Caroline, in turn, often refers to her suffering and pains, and she employs a clever double-entendre when calling Videtur "the healer of my affections." The still-life illustrations, skillfully executed by Caroline's sister Helena, include items such as a mortar and pestle, anti-splenetic pills, deworming liquor, a skull, a jarred specimen fetus, and many medical books. There are also multiple portraits of Caroline and Videtur, as well as smaller allegorical vignettes. One particularly charming and fanciful illustration shows a book open to its title page. On closer examination, we see that it is the imagined 100th edition of Oeuvres Choisis de Videtur et Caroline, published a century later in 1947.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

[TOULOUSE-LAUTREC, HENRI DE]GEOFFROY, J. Nouveau Dictionnaire Éleméntaire. Latin-Français. Paris: Jules Delalain et Fils, 1873. The copy of Henri de Toulouse-Lautrec, was used by him while studying for his baccalaureate. Contemporary drab buckram, inscribed on the cover: "H. de Toulouse-Lautrec. Dictionnaire Latin | T.L"; housed in a modern pigskin case. 8 5/8 x 5 1/2 inches (22 x 14 cm); viii, 534 pp.; with roughly 440 pen-and-ink drawings by Lautrec on approximately 110 pages, including the endpapers, title-page, and the margins of text pages, executed about 1878-81. Rebacked, resewn, the hinges neatly restored along the gutter of the endpapers; one or two minor tears, small, neat repairs to a few leaves.Toulouse-Lautrec's Latin-French dictionary is enhanced with hundreds of delicate pen and ink drawings, drawn while he studied for his baccalauréat. The sixteen-year-old first sat for the exam, for which a working knowledge of Latin was an essential and integral part, in 1880. After initially failing, he retook it in 1881, and this time he passed. During his studies, the young artist decorated the margins of his dictionary with sketches, many of which demonstrate skills reaching far beyond the doodles of a bored schoolboy. Toulouse-Lautrec was already studying art, having received informal instruction from Charles de Toulouse-Lautrec, his uncle, and (from a young age) the painter René Princeteau, a friend of his father. Princeteau, a brilliant painter of animals, especially horses, was the subject of at least two 1881 paintings by Henri.Horses were a lifelong passion for Toulouse-Lautrec, and his diminutive stature may have resulted (at least in part) from two bad falls (with resulting broken legs) he took while riding while still a young man. Many of his earliest paintings feature them (his powerful work The White Horse "Gazelle" was painted in 1881, around the time he made the drawings here) and they remained an enduring fascination, and a source of some of his most compelling images, throughout his brief life. The playful sketches that populate these pages include many lively, compelling drawings of the animals, and it is these, perhaps more than any other theme, that draw the eye. Writing about this book in 1955, Aldous Huxley observed "... when the learned foolery of grammar and versification became unbearable, he would ... dip his pen in the ink and draw a tiny masterpiece. Dictionnaire Latin-Français. Above the words is a cavalryman galloping to the left, a jockey walking his horse towards the right. Coetus and Cohaerentia are topped by a pair of horse's hoofs, glimpsed from the back as the animal canters past. Two pages of the preface are made beautiful, the first by an unusually large drawing of a tired old nag, the second by a no less powerful version of the three horses in tandem which adorned the flyleaf." On the front pastedown, two quatrains in Toulouse-Lautrec's elegant script appear among the drawings. The first reads "Si tente de demon, Tu derobes ce livre, Apprends que tout fripon, Est indigne à vivre" (If, driven by a demon, you steal this book, know that no rascal merits to live); a second verse, written in alternating Latin and French, appears below a drawing of a pierrot hanged on a gallows, saluted by a dapper gentleman in a top hat. Translated, the verse reads, "Look at Pierrot hanged, who did not return the book; if he returned it, he would not have been hanged."This is believed to be the only surviving school book thus decorated by the youthful Toulouse-Lautrec. Huxley wrote glowingly of it: "Even as a boy, as yet completely ignorant of the masters under whose influence his mature style was to be formed, Houku-sai, Degas, Goya, even in the margins of his Latin dictionary he was making manifest the vitalizing spirit in the movements of life."Literature:A. Huxley, "Toulouse-Lautrec: Reality Revisited with the Amoral Eye", Esquire, September 1955 Centenaire de Toulouse-Lautrec, J. Bouchot-Saupique, Albi, Palais de la Berbie, 1964 Paris, Réunion des musées nationaux, 1964 La Revue du Louvre et des musées de France, vol. 26, 1976, p. 453, no. 20.Provenance:Jake Zeitlin, c.f. the Huxley article cited above Sale: Geneva, June 13-15, 1960, lot 539Sale: Sotheby's, New York, December 11, 1990, lot 481, sold $165,000Jay I. Kislak, United StatesThe Comité Toulouse-Lautrec has confirmed the authenticity of this work No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

[MANUSCRIPT JOURNAL - GRAND TOUR]ALDEN WEIR, CAROLINE. Liber Amicorum. [A photo-illustrated journal from a European grand tour]. Italy, France, Scotland, England, and elsewhere: April-June, 1904. In a hand-painted vellum binding with yapp edges and leather ties, the boards painted dark green with gilt decorations around the edges, the upper board with the title "Liber Amicorum" in medieval-style calligraphy and a griffon design, the lower board with The Lion of St. Mark emblem. 11 1/2 x 8 1/2 inches (29.5 x 21.5 cm); With watercolor illuminated title-page, 144 pp. of hand-written journal, with approximately 150 photographs of varying sizes, as well as color postcards, an original watercolor, and various souvenir items such as theater programs, tickets, stationery from hotels and railways, steamship passenger-lists and deck plans, etc. Rubbing and wear to the vellum binding mostly at extremities, with chipped spine ends, losses to much of the gilt-painted decorations, and one of the four leather ties largely missing, but the painted boards are still bright, the contents are mostly clean and bright, with some spotting to endpapers, very rare spots to the manuscript itself, some of the mounted photographs have come loose and occasionally have a creased corner, signed and dated by the author on the front free endpaper. Caroline Alden Weir (1884-1974), the daughter of noted American impressionist painter Julius Alden Weir, began her European grand tour journal on April 16th, 1904, the day she was leaving Venice. She traveled with her Uncle Henry, Aunt Cora, and a man she often found irritating named Heller. Over the next few months, she visited Genoa, San Remo, Monaco, Nice, Marseilles, Paris, Orleans, the Chateaux of the Loire, Rouen, Dieppe, London, Salisbury, Edinburgh, York, Birmingham, and more. At each destination, she would tirelessly sightsee, before describing her visits to museums, churches, chateaux, country estates, parks, gardens, mausoleums, theatres, and the countryside itself. Caroline was fastidious in finding photographic prints of the places she visited, cutting small diagonal slits into the journal's pages in order to mount her photos and ephemera into their correct places in her journal.Caroline's lively descriptions of what she encountered are brimming with personality, humor, and endless curiosity. She is clearly an intelligent and cultured young woman, beginning her journal with a quote from Lewis Carroll - "The time has come, the walrus said, to talk of many things" - and delighting in recounting detailed historical facts and dates that she had gleaned from her guides and guidebooks. She also discusses her day-to-day life, describing encounters with locals and other tourists, as well as her experiences while traveling, staying in various hotels ("Our last dinner at Claridges was as good as ever. It is such a perfect hotel I am afraid it spoils one for any other,") and eating different foods, such as a Bouillabaise in Marseille, which she liked, and her first olive in Ceriana, which was "not a pleasing sensation - rather bitter and oily." She also went shopping in Paris and London, and pays attention to fashion in the cities she visited - for example, she notes that "Feather boas are much in evidence" in London. Caroline and her party began their journey home on June 4th, setting sail from Gravesend on the S.S. Minneapolis. She continues writing in her journal while at sea, describing the people she meets onboard, the activities (including ship's golf and shuffleboard), and how she is reading a book about bookbinding, whose influence immediately becomes evident in her journal's hand-painting vellum binding. Caroline would go on to be an accomplished bookbinder, printmaker, etcher, and painter, settling in Old Lyme, Connecticut.No condition report? Click below to request one. *Any condition statement is given as a courtesy to a client, is an opinion and should not be treated as a statement of fact and Doyle New York shall have no responsibility for any error or omission. Please contact the specialist department to request further information or additional images that may be available.Request a condition report

British School, late 19th century, still life of a blue tit and fruit, oil on canvas, 29 x 60cm.

George R Deakins, still life of flowers in a vase, signed and dated '81, oil on board, 36 x 35.5cm; together with another larger by the same hand, 46 x 104cm. (2)

Simon Pritchard, two interior scenes, oil on board, largest 38 x 29cm; together with a still life of flowers by Hill; and one other. (4)

20th century European School, a portrait of a girl, oil painting on canvas, 24cm x 19cm, gilt framed, together with a still-life oil painting on canvas, gilt framed (2)

Charles Henry Slater (1820-1890) "Still Life, Vase of Flowers" Watercolour painting, signed CH Slater, 41cm x 28cm, ornate gilt frame, glazed

Richard **yley "Copper Kettle" still life oil painting on board, signed, 60cm x 45cm, framed, mounted and glazed

Ben Rayner Still Life of Flowers, water-colours 29.5 x 24.5cm each signed lower right (3).

Ben Rayner Still Life of Flowers, watercolours, 47 x 33.5cm and 20.5 x 33.5cm both signed lower right (2)

William Hughes (1842-1901) - Oil painting - Still life of plums, greengages and apples arranged on a mossy ground, signed and dated 1868, canvas, 11.5ins x 17ins, in gilt moulded frameThis painting has not been inspected out of the frame. It appears to be in good condition with no obvious damage/loss/restoration

Oliver Clare (1853-1927) - Oil painting - Still life of primroses, violets, apple blossom and a nest of eggs, signed, canvas, 15.5ins x 23ins, in gilt moulded frame Note: E. Stacy-Marks, 120-122 Terminus Road, Eastbourne to verso