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ANDREI KULAKOV (BORN 1958) ''A STILL LIFE OF FLOWERS IN VASE ON WINDOWSILL'' 2000'S OIL ON CANVAS 35CM X 45CM

*ROSE HILTON (1931-2019) 'Favourite Pots, 2012' Still life study of items on a windowsill, signed lower right, further signed and titled verso, oil on canvas, 50.5cm x 76cm (unframed on stretcher)Provenance: The Estate of the late Brian Phelan (1934-2024) and Dorothy Bromiley Phelan (1930-2024).

Gwen John (1876-1939) View from rue Terre Neuve, Meudoncharcoal, pen and ink and wash18 x 16.5cmProvenance: Acquired 1950/51 in Meudon, having possibly been given away in Gwen John's lifetime;thence by descent.Gwen John rented an apartment at 29 rue Terre Neuve from 1911 until the end of her life. The present lot is believed to be the view from the artist's top-floor studio, overlooking the terrace observatory gardens, with a vase of flowers on the windowsill. There are two paintings of the same subject in the Paul Mellon Collection, Virginia. Condition ReportFramed: 38 x 33cmTime staining. A small fold in the lower left corner. There is a 5mm tear to the top edge on the right side. Light creasing with a litte foxing starting to emerge. Not viewed out of glazed frame.

Janet JUDGE (1956-2022) Windowsill Daffodils Watercolour, signed, titled verso, 25cm x 35cm, 44cm x 54cm framed. Janet was a member of the Lizard Art Collective who held a retrospective exhibition celebrating her work in March 2023.

# Lionel Victor BULMER (1919-1992) Oil Lamp On Windowsill Oil on board Monogram lower left Framed Picture size 27.5 x 10.5cm Overall size 40.5 x 23.5cm

Frank Baker (1873-1941)Potted plants on an interior windowsillSigned, watercolour, 14.5cm by 22.5cm; together with a further watercolour signed L* Greville? and dated 1872; and four prints after Cotman (6)

TINDLE, DAVID RA (born 1932) British (AR), Jacket on Windowsill, pencil on card, signed and dated 1975, unframed. 56 x 76 overall.

This vibrant and surrealistic giclee on canvas entitled Magic Windowsill by renowned Brazilian artist Ferjo captures a whimsical interior scene filled with bright colors, playful light, and surreal elements. The composition draws the viewer into a dynamic interplay between realistic settings and dreamlike imagery, exemplified by the detailed butterfly, colorful tropical fish, and geometric objects scattered throughout the space. The artwork is framed in a gold-tone ornate frame with floral carvings, complementing the luminous tones of the painting and enhancing its display presence. Fernando de Jesus Oliveira, widely known as Ferjo, is celebrated for his distinctively surrealistic and imaginative paintings. His works often merge vivid realism with fantastical elements, creating dreamlike environments that captivate audiences worldwide. A protege of Salvador Dalí's and a student of cubism, Ferjo incorporates homages to iconic artists like Picasso, Matisse, and Van Gogh in his pieces, often blending their styles with his unique artistic voice. Born in Brazil, Ferjo has exhibited his works internationally, gaining acclaim for his technical mastery and ability to create imaginative worlds. His paintings are widely sought after by collectors and art enthusiasts alike. Signature and edition number on lower edge. Artwork dimensions with frame: 20.75"L x 17.25"H x 1.50"W. Artist: Ferjo (Brazil b. 1946)Issued: 2001Dimensions: See DescriptionCountry of Origin: BrazilCondition: Age related wear.

Charles Robert Perrin (American, 1915-1999). Watercolor on paper painting depicting a still life of a winter windowsill, 1977. Signed and dated along the lower left.Height: 19 1/2 in x width: 30 in.Condition: The colors are bold and bright. There are no creases, tears, losses, or restorations. Light wear along the extreme edges. Some light soiling in the margins. Some residue/tape affixed to the verso. The work is not framed.

Seven records related to Jazz and experimental artist David Toop: Suttle Sculpture (sealed); Wounds (sealed); Apparition Paintings (sealed); Pink Spirit, Noir World (sealed); Danger in Paradise (sealed); Entities Inertias Faint Beings (sealed); and Yanomami Shamanism Songs Ritual 1978, Field Recordings by David Toop; two records by British Indie-Folk band 'Stornoway': Beachcomber's Windowsill, 2010; and Tales From Terra Firma, 2013; and three records by British Folk-Rock artist Bill Fay: Time of the Last Persecution, 50th Anniversary reissue (sealed); Tomorrow Tomorrow and Tomorrow (sealed); and Who is The Sender?, 2015 gatefold pressing. (12)

BRIAN WILSON (20TH CENTURY). A cat resting amongst flowerpots on a windowsill, oil on canvas. Signed, 20" x 24" (51 x 61cm).

A group of Portmeirion pottery, predominantly Botanic Garden pattern dinner wares, to include side plates, bowls, ramekins, fruit bowls, six windowsill cat's mugs, bud vase, dinner plates, etc. (a quantity)

Wendy De Rusett (1945-2012) 'Clydebank Windowsill', hand coloured print. Artist Proof signed bottom left, 18cm x 24cm. Framed and glazed.

A watercolour still life study of various flowers in a vase sitting on a windowsill, signed to lower left 'A.K.', 39 x 54 cm.

GORAN WARFF for Kosta, a “Polar” glass lantern/candlestick in multi-coloured yellow, orange, green, blue, clear, designed in 1976 from an inspiration of icy stalagmites on a winter windowsill. Signed on the base Kosta 67715 G Warff, height 15.5cms . Condition Report: Good condition, no chips, cracks or restoration

BEARDSLEY (AUBREY)Portrait photograph of Aubrey Beardsley, half-length in tweed suit, by Henry Herschel Hay Cameron, INSCRIBED BY THE SITTER 'To Mrs Underhill from Aubrey Beardsley' on the mount, platinum print, mounted on card, signed lower right of mount, some spotting to mount and a couple to image, pencil note by framer on verso, image 238 x 184mm., mount 300 x 250mm., [August/September 1896]; together withHOLLYER (FREDERICK) Portrait of Aubrey Beardsley, half-length leaning on a windowsill, platinum print, mounted on card, photographer's name and address ('Fredr. Hollyer, 9 Pembroke Sqre, Kensington W') in red ink, and Aubrey's name in his mother's hand on verso of mount, image 108 x 148, mount 116 x 160mm., [c.1890]DICKINS (FRANK) Cabinet portrait of Mabel Beardsley, albumen print on photographer's mount with name and address in gilt, sitter identified on verso by Beardsley's mother, image 140 x 100mm., [1890s]Three photographs of Aubrey Beardsley's mother Ellen, including one seated in a garden beside her daughter sister Mabel who is lying in an invalid bed (c.1905), one with 'Miss Dash' in 1929, and one aged 85 in 1931BEARDSLEY (ELLEN) Two autograph letters signed ('Ellen A. Beardsley' and 'E.A. Beardsley') to Mina ('Wilhemina', her cousin), in both reminiscing wistfully of her son Aubrey, and his grave at Menton, ('... I only pray that I may die the beautiful death he died. His patience during his long illness touched the hearts of all who lived in the house...', undated), ('My one long wish, which I fear will never be granted, is to see it [Aubrey's grave at Menton] again!', dated 15 October 1928), together 8 pages (one missing a page), 8vo, 29, St. George's Terrace, BrightonROSS (ROBERT) Aubrey Beardsley, inscribed 'with love from Aubrey's mother & sister, Xmas 1908' on front free endpaper, 16 plates, publisher's cloth, 8vo, John Lane, 1909SYMONS (ARTHUR) Aubrey Beardsley, one of 150 large paper copies, photogravure frontispiece, 17 plates, a few manuscript notes by Ellen Beardsley's mother loosely inserted, publisher's parchment-backed cloth, 4to, J.M. Dent, 1905 (small archive)Footnotes:Two fine photograph portraits of Aubrey Beardsley. The inscribed one is by Julia Margert Cameron's son Henry Hay Cameron, and was used as the frontispiece to A Book of Fifty Drawings published by Smithers in 1897. In a letter to Smithers of 11 September 1896, Beardsley commented 'Cameron photo is superb' (Letters, p.162). The other is by Frederick Hollyer (1838-1933) who, in his Pembroke Square studio, photographed a diverse group of artists 'encompassing members of the Arts and Crafts Movement, the Pre-Raphaelite Brotherhood, Aestheticism, Impressionism and the Royal Academy' (V & A Museum website).The Mrs. Underhill to whom Aubrey inscribed his portrait is believed to be Wilhemina Underhill, a cousin of Aubrey's mother Ellen. She is also presumably the 'Mina' to whom Ellen addresses the letters in this archive.For further information on this lot please visit Bonhams.com

Rowland Suddaby (1912-1972)A group of watercolours to include: two life studies of female nudes, still life on a windowsill, Fairbrook Naze from Seal Edge near Bleaklow, Derbyshire, study of boats, all unframed (5)Provenance: Christie's, South Kensington, Interiors Sale, 28th October 2008, Lot 491 (part lot)

Victor Hernandes: a framed watercolour still life with vase of flowers on a windowsill - signed

ELLEN ALTFEST (AMERICAN 1971-) DRIFTWOOD (WINDOWSILL), 2003 oil on canvas 55.7cm x 66cm (21 7/8in x 26in) Private Collection, London.

Jacquie Denby (b.1939) Still life of clementines on a windowsill before a moonlit landscape Initialled, oil on board, 47cm by 61cmProvenance: Bruton Gallery, Holmfirth Bought from the artist Thense by decent

A stoneware studio pottery 'Showroom Entrance' plaque - the central reserve painted with a bowl of flowers on a windowsill, 35.5cm diameter, unmarked.

ALBERT DUBOIS-PILLET (1846-1890)Reines-marguerites dans un pot sur le rebord d'une fenêtre signed 'Dubois-Pillet' (lower left) and dated 'Août 1885' (lower right)oil on canvas81.5 x 64.8cm (32 1/16 x 25 1/2in).Painted in August 1885Footnotes:ProvenanceAugustin Durastel de Rocheblave Collection, Puy-en-Velay (acquired directly from the artist).Private collection (by descent from the above); their sale, Sotheby's, London, 1 July 1970, lot 29.Giusto Tolloy Collection, Rome (acquired at the above sale). Private collection, UK (by descent from the above). ExhibitedParis, Salon des Indépendants, 2e exposition de la Société des artistes indépendants, 21 August – 21 September 1886, no. 160 (titled 'Des fleurs sur une fenêtre').LiteratureL. Trézenik, & G. Rall (eds.), Lutèce, journal littéraire, politique, hebdomadaire, 20 August 1886.J. Le Fustec, 'Exposition de la Société des Artistes indépendants', in Journal des artistes, 29 August 1886, p. 290.F. Fénéon, 'Les Impressionistes', in La Vogue, no. 8, 13-20 June 1886, p. 275.R. Gounot, 'Le peintre Dubois-Pillet', in Cahiers de la Haute-Loire, Revue d'études locales, Le Puy, 1969, p. 123 (titled 'Des fleurs sur une fenêtre').J.U. Halperin (ed.), Félix Fénéon, Oeuvres plus que complètes, Vol. I, Chroniques d'art, Geneva, 1970, p. 44.L. Bazalgette, Albert Dubois-Pillet, sa vie et son oeuvre (1846-1890), Paris, 1976, p. 162 (titled 'Des fleurs sur une fenêtre').P. Smith, Seurat and the Avant-Garde, New Haven, 1997, p. 83 (illustrated p. 84; titled 'Bouquet de reine marguerites à la fenêtre').J. Monneret (ed.), Catalogue raisonné du Salon des Indépendants, 1884-2000, Les Indépendants dans l'histoire de l'art, Paris, 2000, p. 172 (titled 'Des fleurs sur une fenêtre').D. Lobstein, Dictionnaire des Indépendants, 1884-1914, Vol. I, A-D, Dijon, 2003, p. 572 (titled 'Des fleurs sur une fenêtre').P. Offenstadt, Albert Dubois-Pillet, Catalogue raisonné, Paris, 2018, no. 85 (illustrated p. 104).Albert Dubois-Pillet's Reines-marguerites dans un pot sur le rebord d'une fenêtre, painted in August of 1885, is a remarkable example of the artist's pivotal influence on Pointillism, a groundbreaking movement that was then burgeoning in Paris. Exhibited in 1886 at the second Salon des Indépendants, the painting garnered early critical attention, notably from the renowned art critic Félix Fénéon. In his seminal article, 'Les Impressionistes', published in La Vogue in June of 1886, Fénéon used this work to highlight how Dubois-Pillet, as well as other artists such as Georges Seurat (1859-1891) and Paul Signac (1863-1935), were revolutionising the established Impressionist style. Rather than working spontaneously or subjectively as the Impressionists did, Fénéon emphasised how these artists were pioneering a new scientific approach, dividing highly keyed colours into their constituent parts with tiny dabs of paint upon canvas, allowing them to blend optically in the viewer's eye. This technical, structured approach to achieving vibrancy and luminosity would come to be known as Neo-Impressionism, a movement for which Fénéon's article would later become revered as a foundational text. The present work depicts vibrant pink and purple flowers arranged in a floral-patterned pot placed upon the windowsill of the artist's studio, framed by a typical Parisian rooftop in the background. Its tight composition and meticulous stippled treatment of the sky showcase Dubois-Pillet's precision and fascination with light and colour. Engaging with contemporary colour theories, notably those of Georges Seurat, he applied tiny dabs of colour to deconstruct light and achieve a unique form of radiance through optical blending.As a friend and contemporary of Seurat, Dubois-Pillet was involved in the same avant-garde circles that challenged the traditional and academic norms of painting. While he aligned with the Neo-Impressionist movement due to his scientific approach to painting, his works conveyed a more restrained and poetic sensibility to those of his counterparts. As Seurat explored the bustling metropolitan life of Paris, Dubois-Pillet focused on still-lifes and quiet interiors, emphasising introspection and the domestic sphere with a delicate and evocative sensibility. In addition to its significant early acclaim – demonstrating its presence at the heart of a transformative moment in modern art – the present work comes with an impeccable, unbroken provenance. Its first owner, Augustin Durastel de Rocheblave, acquired the work directly from the artist. Durastel de Rocheblave was a lawyer from Puy-en-Velay, the French commune that Dubois-Pillet was transferred to as an artillery captain in the French military, and which inspired many of his final paintings. Dubois-Pillet passed away in August 1890 due to an outbreak of smallpox in this region, after which his friend Paul Signac and the Société des Artistes Indépendants – of which Dubois-Pillet was a founding member – organised a memorial exhibition of his work. Extant paintings by the artist are exceedingly rare, due to a fire that destroyed the majority of his work, as well as his early death. The present work, therefore, remains an exceptional example of Dubois-Pillet's most pioneering work, and a testament to his contribution to the tectonic shifts in modern art that took place at the end of the nineteenth-century.For further information on this lot please visit Bonhams.com

Jane Dowling (1925-2023) Kitchen Windowsill signed with initials (lower right), inscribed and titled (to reverse) watercolour 15 x 20cm. Mallams are delighted to offer paintings by the late Modern British artist Jane Dowling from her Oxfordshire studio. Jane studied at Oxford University and the Ashmolean Museum and other Oxford institutions hold examples of her work. She was a regular exhibitor at the Royal Academy from 1961 through to the Summer Exhibition in 2019. Her work was also commissioned by the National Trust and Oxford Oratory Church. In addition, several of Oxford’s hospitals and the Ashmolean Museum hold examples of her work. She also exhibited at the New Grafton Gallery in London and with the New English Art Club. Her reputation in Oxford was renowned not just for her painting but for her enthusiasm and zest for teaching. She taught at the Ruskin School of Art for several decades and was instrumental in establishing The Royal Drawing School. She continued as an artist and teacher in Oxford until late in life and passed away at the age of 97 in February last year. Jane was married to Peter Greenham, whose work is perhaps more widely known and subjects include Queen Elizabeth II & Princess Margaret. Peter also studied at Oxford University and later became a schoolmaster at Magdalen College.

Three framed pictures to include: a print after Myles Birket Foster "The New Baby", a print depicting a still life of flowers on a windowsill, and a large print titled "Waste Ground and Weeds".

20th Century, "Still Life, Plate of Apples and Jug on Windowsill"; unsigned oil on canvas, 29.5 x 60cm, "Study in pink: two figures in a bed", unsigned oil on board, 75 x 75cm; Mary Green, "Flowers and Foliage", signed watercolour, 48 x 38.5cm and a ceramic plaque, "Woman with Bird IV", signed with monogram fb (?), 26 x 18cm, (4).

An oil on board vase on windowsill with sailing boat in background, 24 x 19.5cm

A French pine cottage money box, 19th century, with clock above an arched front door, the dial printed 'D&B Brevetes s g d g, Paris'26 x 24cmShows signs of use and age. Veneer loss to one side of gablefront and to the reverse of the roof moulding and with a loss of finish to the reverse side of the roof and side of gablefront. The underside with some losses Overall with some typical splits, scratching and some minor losses (front windowsill) to the timber and with signs of historic worm

MID 20TH CENTURY SCHOOL "Flowers in a vase on a windowsill with cottage in background", mixed media, unsigned, 46.5 cm x 31.5 cm, AFTER TAYLOR "Breton houses", limited edition colour print No'd. 233/850, titled and signed in pencil lower edge, 40 cm x 42 cm, F PAGE "Cockerel and hens", watercolour, signed and dated "September 97" lower right, 15 cm x 35 cm, TREVOR WAUGH "Chicken on a doorstep", watercolour, signed and dated 92 lower right, bears label verso, 17 cm x 11.5 cm, together with other assorted decorative pictures and prints (20)

By Repute Countess Orlov-Denisov (1830-1922)Still life of flowers on a windowsill, with a vista behindSigned 'Comtess Orloff-Denissoff', oil on canvas, together with a companion, also signed, each 15.5cm by 21.5cm; with a further still life oil on canvas signed Olga Orloff-Denissoff, 33.5cm by 25.5cm (3)

STORNOWAY - ORIGINAL PRESSINGS - LP PACK. A pack of 5 x LPs. Titles are Beachbomber's Windowsill (CAD 3X20), You Don't Know Anything, Tales From Terra Firma, Bonxie (11297 51181) and Dig The Mountain. The condition is generally Ex+.

Anne Cotterill (British, 1933-2010) Snowdrops and catkins in a blue and white jar on a sunlit windowsill oil on board, signed lower right 9½ x 8in (24.1 x 20.25cm), hollow wooden frame (31.25 x 27.5cm)

A 19th century Victorian copper windowsill planter. The planter featuring lions head ring handles to either end, raised on four paw feet. Measures approx. 13cm x 35cm x 14cm.

Stillleben mit TopfpflanzeÖl/Leinwand. Unsigniert. Anfang 20. Jh. 40,5 x 30,5 cm. Gerahmt : 50 x 39 cm (Goldrahmen). Apfel und Pflanze auf weißem Fenstersims im hellen Licht. Leichte Altersspuren. Aufrufzeit 15. | Juni 2024 | voraussichtlich 19:40 Uhr (CET) Still life with potted plantOil/canvas. Unsigned. Early 20th century 40.5 x 30.5 cm. Framed : 50 x 39 cm (gold frame). Apple and plant on a white windowsill in bright light. Slight traces of age. Call time 15 | June 2024 | probably 19:40 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

WIENAND, Klaes (Hansen)(* 1940) StilllebenÖl/Leinwand. Rechts unten signiert. 60 x 70 cm. Gerahmt : 70,5 x 81 cm (moderner Goldrahmen). Margeriten in heller Vase auf dem Fenstersims neben Topfpflanze im Sonnenschein. Aufrufzeit 15. | Juni 2024 | voraussichtlich 20:09 Uhr (CET) WIENAND, Klaes (Hansen)(* 1940) Still lifeOil/canvas. Signed lower right. 60 x 70 cm. Framed : 70.5 x 81 cm (modern gold frame). Marguerites in a bright vase on the windowsill next to a potted plant in the sunshine. Call time 15 | June 2024 | presumably 20:09 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Sarah Spackman, British b.1958 - White Daisies on Windowsill, 1990; oil on canvas, signed with initials and dated lower right 'SS 90', 59.5 x 42 cm (ARR)

Bryan PEARCE (1929-2006) Daffodils on the Windowsill, 1996 Screenprint, signed and dated '96, numbered A/P XX/XX, image size 43 x 51cm, framed 60 x 80cmThis screenprint is in excellent condition with no sign of staining, damage or repair. It has not been examined out of its glazed frame.

A collection of Wedgwood jasperware items to include windowsill vase, teal jasperware lidded pot, small footed bowl etc (1 tray)

SERGE MENYAYEV (21st century), 'Summer flowers on windowsill', oil on canvas, 68cm x 50cm.

John Maltby (1936-2020), a wall mounted automata modelled as a cat on a windowsill a harbour beyond, the tail swinging beneath, 18.5cm wide x 37cm high (including tail)

Brenda Clough: a framed oil on hardboard still life with stylised bottle and other vessels on a windowsill - signed

SERGE MENYAYEV (XX1 CENTURY) SUMMER FLOWERS ON WINDOWSILL - OIL ON CANVAS 68CM X 50 CM

Small study of Geranium flowers before a windowsill, indistinctly signed, framed and glazed

† GORDON KING (British, born 1939); two limited edition signed prints, girl with flowers, no. 135/250, 54 x 70cm, and lady leaning against windowsill on summer day, 28 x 19cm both signed and with gallery stamp, both framed and glazed (2).Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orgFrames 76 x 92cm and 51 x 40cm

† EDMUND ADLER (AKA F. TILGNER) (German, 1871-1965); oil on canvas, a scene of a child pouring a drink, overlooked by a begging Dachshund and a baby in a cart, signed 'F Tilgner', 38 x 30.5cm, framed.Condition Report: † This lot may qualify for Artist Resale Rights. For further information, please visit https://www.dacs.org.uk or https://artistscollectingsociety.orggood condition overall with one small area of restoration under the pots on the windowsill 

‡ ROSEMARY BURTON (Welsh b.1939) collage - entitled verso, 'Flowers on a Windowsill' on Martin Tinney Gallery label, signed and dated 2011 verso, 30 x 22cmsProvenance: private collection Vale of GlamorganComments: framed and glazed, ready to hang

Two works by David Hockney. iPad Art. 1937 - . Bonsai trees on windowsill. 2x Offset lithography. Dimensions: H 70 x W 49 cm. In good condition.

Arnold Beauvais (British 1886-1984), Still life of Mimosa and Chinese lanterns with a green glass decanter on a windowsill ; Still life of Rudbeckia daisies, two, one oil on canvas laid on board with an oil sketch of a castle verso, the other oil on canvasboard, the second signed lower left, the first 42 x 32.5cm.; the second 29 x 39cm. (2) FramedCondition Report: Mimosa still life, canvas is lifting off the board, needs laying down properly, some water damage to right hand side of daisies, both need cleaning.

Georgius Jacobus Johannes van Os, 1782 Den Haag – 1861 ParisGROSSES STILLLEBEN MIT SOMMERBLUMEN UND WEINTRAUBENÖl auf Holz, teils parkettiert.97 x 75 cm.Rechts unten auf Fensterbank signiert und datiert „G.J.J. van Os 1809“.In dekorativem Rahmen.Hauswand mit hochgezogenem Holzfenster, auf dessen steinerner Bank eine bauchige Glasvase mit einem farbenfrohen bunten Blumenstrauß steht. Links des Fensters schlängelt sich an der Hauswand ein Weinstock mit hellen Traubenrispen entlang, dessen Blätter von oben in das Bild hereinragen. Der Strauß besteht u. a. aus Päonien, einer gelb leuchtenden Sonnenblume, Rosen, blauer Kornblume, einer Gladiole sowie diversen Kleinblütern. Am rechten Rand, über die Bank ragend, zwei weitere Rispen mit dunklen Weintrauben. Qualitätsvolle Malerei in der typischen Art und Weise des bekannten Künstlers. Holzplatte etwas gewölbt, rest., teils Retuschen.Der Künstler war wie sein Vater Jan van Os (1744-1808) spezialisiert auf die Malerei von Stillleben mit Blumen, Obst und Wild. Vor allen Dingen wegen seiner verblüffenden Pinselführung und der Naturtreue seiner Blumen und Früchte wurde er einer der meist gefeierten Stilllebenmaler des frühen 19. Jahrhunderts. (1391619) (18)Georgius Jacobus Johannes van Os, 1782 The Hague – 1861 ParisLARGE STILL LIFE WITH SUMMER FLOWERS AND GRAPES Oil on panel, partially parquetted.97 x 75 cm.Signed and dated “G.J.J. van Os 1809” on windowsill lower right.

λ&nbspCAREL WEIGHT (BRITISH 1908-1997) SKETCH FOR 'AN EPISODE IN THE CHILDHOOD OF A GENIUS' Oil on panel Signed to label (attached verso) 43.5 x 65cm (17 x 25½ in.)Painted in 1932. Provenance: J. Beddington, Director of Wildenstein, Private CollectionExhibited: London, Arts Council of Great Britain, Four Contemporary British Painters, (Leonard Appelbee, Claude Rogers, Ruskin Spear, Carel Weight), 1947, no. 27  'At this time his mother told him a story of vital importance to his development as an artist, As a girl, she had clambered out of an upstairs window and made her way along a narrow, projecting ledge to a neighbour's windowsill, tempted there by the bright blooms in a window-box. People in the street saw her and were terribly worried about her falling, but somehow they got her back.' It introduced another line - humorous fantasy - and he developed it with gusto. It was to become a constant in so many purlieus of Carel Weight's world. 'That gave me an idea for a picture. I moved the scene to the outside of a pub, and substituted a young lad who'd climbed up the inn sign and perched himself precariously on top. He was causing great consternation not only to people in the pub but also among the crowd who'd gathered outside'. - see R.V. Weight, Carel Weight, 1994, page 21  The painting , for which this is the study, was exhibited at the Royal Academy Summer Exhibition in 1933 (No 100) and was instrumental in securing the artist's first teaching job. The painter Henry Carr,, then head of Beckenham School of Art, saw it, liked it, and offered Weight a 2-day-a-week teaching position at the school, Weight accepted and continued to teach at Beckenham until called up for war service in 1942. - see Mervyn Levy, Carel Weight, 1986, page 45.    

MAGNOLIA (1999) - Stanley Spector's (Jeremy Blackman) Frog Bathometer with Paul Thomas Anderson-Signed Shooting Script and Production Ephemera - Stanley Spector's (Jeremy Blackman) frog bathometer with a Paul Thomas Anderson-signed shooting script and crew ephemera from the production of Anderson's Magnolia. Frog imagery appeared throughout the film, including on What Do Kids Know?, competitor and child genius Spector's bedroom wall, and when frogs rained down from the skies of California's San Fernando Valley in the climactic finale.This lot consists of a frog-shaped ceramic bathometer sculpted and hand-painted green by Miller Studio of North Carolina and labeled "Spector's Windowsill Above Desk" on the back; a bound, 228-page script published in 2000 by Newmarket Press and signed on the interior cover by Anderson; an unpainted cast resin production frog casting; a plastic-laminated "What Do Kids Know? Crew" badge; a crew badge printed with a photograph of Anderson kicking; and a plastic-laminated crew parking placard. The casting's flippers exhibit breaks at the tips, and the plastic materials are scratched from production use. Dimensions: (largest) 14" x 12" x 3" (35.75 cm x 30.5 cm x 7.75 cm)This lot is offered at a $100 starting bid with no reserve.Bidding for this lot will end on Thursday, March 14th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Wednesday, March 13th.

Russischer Maler: FrühlingsblumenÖl/Leinwand. Rechts unten kyrillisch signiert. 20. Jh. 70 x 50 cm. Gerahmt : 74 x 54 cm. Narzissen in einem Henkelglas neben kleinem Blumenstrauß in Wasserglas auf dem Fenstersims. Aufrufzeit 24. | Feb 2024 | voraussichtlich 12:54 Uhr (CET) Russian painter: Spring flowersOil/canvas. Signed lower right in Cyrillic. 20th century70 x 50 cm. Framed : 74 x 54 cm. Daffodils in a glass with a handle next to a small bouquet of flowers in a glass of water on the windowsill. Aufrufzeit 24. | Feb 2024 | voraussichtlich 12:54 Uhr (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

GOETJES, Carl (1905 Erfurt - 1963 Halle) Kamelie am FensterÖl/Hartfaser. Rechts unten signiert. (19)60. 55,5 x 44,5 cm. Gerahmt : 66,5 x 56 cm (Goldstuckrahmen). Blühende Topfpflanze auf dem Fenstersims im hellen Licht. Deutscher Maler, ansässig in Thal/Thüringen. Literatur : Vollmer. Aufrufzeit 24. | Feb 2024 | voraussichtlich 17:13 Uhr (CET) GOETJES, Carl (1905 Erfurt - 1963 Halle) Camellia at the windowOil/hard fiber. Signed lower right. (19)60. 55.5 x 44.5 cm. Framed : 66.5 x 56 cm (gilt stucco frame). Flowering potted plant on the windowsill in the bright light. German painter, based in Thal/Thuringia. Literature : Vollmer. Aufrufzeit 24. | Feb 2024 | probably 17:13 (CET)*This is an automatically generated translation from German by deepl.com and only to be seen as an aid - not a legally binding declaration of lot properties. Please note that we can only guarantee for the correctness of description and condition as provided by the German description.

Post-Impressionist style oil on canvas painting with a stunning color combination of white lilies and pink orchids placed in an interior setting with orange walls and table top, and a red windowsill that reveals a lush garden under a sky made of violet and blue tones. In the foreground, Lamouroux depicts geometric vases with violet shadows that contrast with the sinuous lines of the cobalt and chartreuse stems. Signature and date on lower right: J. Lamouroux, 98. Housed in a recessed white wooden frame with the white borders of the canvas serving as an illusionary mat. Frame size: 29.30"L x 40.10"H x 1.50"W. Artwork dimensions: 28.50"L x 39"H. Artist: Jean Lamouroux (French, 1933-2008)Country of Origin: FranceProvenance: Marie-Claude Lalique private collection.

John Yardley Hon., Rtd., RI., (b. 1933) - Still life of flowers on a sunlit windowsill, signed, watercolour and gouache on tinted paper, 12" x 9"

Oil on board still life painting depicting a vase of flowers on a windowsill. Framed. Measures 56 x 48cm.

Winifred Nicholson (British, 1893-1981)My Bedroom Window signed, titled and dated 'Winifred Nicholson 1973/'My Bedroom Window' (verso)oil on canvasboard48.5 x 58.8 cm. (19 1/8 x 23 1/8 in.)Footnotes:ProvenanceWith Crane Kalman Gallery, London, November 1974, where acquired by the family of the present ownerPrivate Collection, U.K.One of Winifred Nicholson's most favoured and signature compositions is that of the windowscape, an innovative technique for capturing still life subjects – frequently flowers – as well as the landscape beyond, encompassing the changing tones of the season and creating a sense of intimacy with the interior setting. The present lot shows a very personal view indeed, that of My Bedroom Window.In 1954 Nicholson wrote a short piece entitled I Like To Have A Picture In My Room, in which she lists desires for her ideal domestic space. She states 'I want a window in it, I want a telephone, a radio and a television set. All these are contacts and doors in the outer world' (Winifred Nicholson quoted in Andrew Nicholson, ed., Unknown Colour, Paintings, Letters, Writings by Winifred Nicholson, Faber and Faber, London, 1987, p. 234). For the artist, her bedroom was clearly a deeply personal space in which she spent much time, and so to have a picture painted from just this perspective is very special. It is telling that of the above requirements, the window is utmost, and its function in providing an outlook to the natural world must have been, for her, paramount.From the variety of flowers depicted, which include the distinctive bell-shaped blooms of speckled purple and white fritillaries, the season looks to be Spring, with the potted indoor plants protected from the worst of any frosts by their safe position on the windowsill, where they can bask in the warming sun. The six-petalled blue starry flowers are chionodoxa, 'glory of the snow', another spring-flowering bulb which blossoms in dainty sprays. The leaves and flowers in the foreground are intermingled with the just-budding, wayward branches of saplings and trees which fill the garden beyond. The compositional involvement of a half-drawn curtain, patterned with flying birds, further expands on a theme of the revolving cycle of seasonal changes which form a major focus of her work.Nicholson is famed for the attention dedicated to and singular skill displayed in depicting her floral subjects, which is unique. As a review in the Times noted in 1927 of a joint exhibition with Ben Nicholson and Christopher Wood was to observe, 'there is something of an April spirit in her work...in her flower paintings the escape from realism into a new reality, as lovely as that of Nature, and charged with human feeling, is complete.' (The Times, 21 April 1927, quoted in Christopher Andreae, Winifred Nicholson, Lund Humphries, Farnham, 2009, p.73).We are grateful to Jovan Nicholson for his assistance in cataloguing this lot.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

§ David Jones C.H., C.B.E. (British 1895-1974) Flowers on the Windowsill, Sidmouth, circa 1930 pencil and watercolour on paper Dimensions:62.5cm x 50cm (24 1/2in x 19 5/8in) Provenance:ProvenanceAnthony D'Offay, London, where acquired by Miss Juliet Plant, 1979; Brownsword Hepworth, London, where acquired by the current owner, 2006.

Joan RILEY (1920-2015) On my Windowsill Oil on canvas, signed, further signed and inscribed to verso, 60 x 50cm. Frame size 69 x 59cm.

After Heinrich Goltzius (Netherlandish School) The Holy Family with St John the Baptist, engraving, likely 19th century in date, 46.5 x 35 cm (PL), frame 72 x 61 cm Provenance: Collection of Mr Magdi Obeid, purchased Dominic Winter 18/07/2018 lot 16Condition:The item is a print, framed under glazing, not examined external to the frame. The sheet has some general ageing (browning) to the sheet, a few small tears to the edge visible to the centre and upper right edge, and to lower left corner, they do not appear to extend into the plate more than 2cm. The sheet is mounted in all four corners with clear plastic corner mounts. There is a small surface loss to the upper left- on one of the leaves of the branches (pictured) and another just below the cat snaring a bird on the windowsill (pictured). There are a number of dirt marks and stains to the exterior of the glass which need cleaning. The frame has some general wear and tear.

Impressionist style pastel drawing, vase of yellow flowers on a windowsill with landscape beyond, indistinctly signed, 38 x 33cm