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An early clay pipe.

A black forest style carved wooden pipe the stem with a carved bear with carved floral decoration below.15cm long

An oak carved pipe smokers cabinet with pipes.

A XX Century Meerschaum, Pipe, carved with a cavalier wearing a feathered hat, 17cm long, cased.

Tobacco - Gold Block (three tins); Capstan Fine Cut; Capstan Navy Cut; Flying Dutchman Aromatic Tobacco (eleven tins); Packets of Pipe Cleaners.

A Mid/Late XIX Century Parian Porcelain Figure of 'Madonna', holding a bible upon a canted octagonal base, unmarked, 34cm high; A Copeland Parian Figure of a Classical Young Man, holding a pipe and leaning on a rock, impressed marks, 30cm high and two others modelled as classical females (A/f). (4)

A gilt metal figure of Napoleon standing aloft a gilt metal and mother-of-pearl circular plinth, 14cm high together with three 19th Century small bronze figures of putti, each playing a musical instrument (harp, lute and pipe) on marble plinth square bases (4) 

A cased turbo multi-flexible pipe plus a British Leyland circa 1980 radio, by repute working.

A pair of Solex ADDHE carburettors with connecting pipe, as removed from an Alfa-Romeo.

1930's Negretti & Zambra London 'Empire' bakelite opera glasses together with a Meerschaum pipe, the bowl is carved as a wild cat, with an amber mouth-piece (boxed). (af)

LESNEY YESTERYEAR,a collection of gold and silver plated models, the majority affixed to cigarette boxes, ashtrays, pipe racks and desk weights, with official listing and a Matchbox price guide

Le Bon. Très rare et belle montre de gousset à cadran ouvert en or jaune 18K (750) sertie de perles avec décor en émail remontoir à clefLe Bon. A very fine and rare 18K gold and seed pearl set key wind open face pocket watch with enamel decoration Date: Circa 1810Movement: Gilt full plate verge, pierced and engraved balance bridge, silver regulation, No.9559Dial: White, black Arabic numerals, black outer minute divisions, winding aperture at 2, gilt handsCase: Consular form with enamel scene to back depicting two nude females in a harem setting, seed pearl set bezelsSigned: Dial & movementSize: 50mm Weight: 76,30gFootnotes:To the reverse of this early 19th century pocket watch is a sumptuous enamel depiction of two female nudes in a harem setting. The central figure stands disrobing whilst a further reclining female with a long smoking pipe stares out at the viewer. The texture of the drapery and lavish setting are exquisite and would have found favour with contemporary European audiences, who would have responded to the quality of the enamel and been intrigued by the exotic narrative.For further information on this lot please visit Bonhams.com

Six 'Nailsea' type glass pipes, to include one with festooned bowl, 57.5cm and smaller, (6)The red pipe has a chip on the mouthpiece/bit. The white with pink lines has nibbles around the rim of the bowl and a loss of the white on the inside of the stem. The bigger plain glass pip has paint on the bottom of the stem. The blue and plain glass pipe has paint on the upper part of the stem it is also missing its bit. The all-blue pipe is missing its bit. The yellow pipe has a glue residue on the stem. The white with red rim has a loss of white on the inside of the stem. The small clear pipe is in good order.

Large Victorian tricolour 'Nailsea' glass pipe, 73cm highThe join between the blue and white is loose and there is a yellowing of the residue between the white and the red. The white has a slight loss of colour in places. There is paint on the shaft of the blue close to the bit.

Large Benin bronze figure playing ceremonial pipe

Pipe stand on circular base. 4 inch wide. Birmingham 1906

Pair of pottery tobacco jars in brown rocking style glaze with portrait of a gentleman smoking a pipe, 21cm tall. 

A small selection of various collector's tins including Thomas Adams Oat Cakes, Grainger Rough Cut Pipe Tobacco and others etc.

A Boer War silk map of South Africa with "The Absent-Minded Beggar" decoration and a Boer War period china clay pipe in the form of a soldier of the City Imperial Volunteers (af) (2)

PABLO PICASSO (1881-1973)Femme assise et gentilhomme dated '10.11.70.' (lower right)brush, pen, India ink and wash on paper23.7 x 31.8cm (9 5/16 x 12 1/2in).Executed on 10 November 1970Footnotes:The authenticity of this work has been confirmed by Claude Picasso.ProvenancePrivate collection, France (a gift from the artist circa 1970-1973).Heinz Berggruen Collection, Paris and Berlin (acquired from the above). Anon. sale, Sotheby's, London, 9 February 2005, lot 214. Private collection, UK (acquired at the above sale).ExhibitedSan Francisco, John Berggruen Gallery, Picasso, The Berggruen Album, 4 March – 10 April 2004, no. 19 (later travelled to New York).'Every painter takes himself for Rembrandt' – Pablo PicassoFemme assise et gentilhomme is an exquisite work on paper by Pablo Picasso. Representing two of the most defining subjects of his oeuvre, the artist's model and the musketeer, this work is an iconic example from Picasso's mature period and stands testament to the artist's desire to confirm his place alongside the greatest painters of the Western art historical canon. In the final years of Picasso's life, swashbuckling seventeenth century mousquetaires occupied the artist's output. Immediately identifiable by the long pipe, broad brimmed hat and imperial moustache, the musketeer in the present work is highly evocative of Golden Age portraiture, most notably that of Rembrandt - an artist whom Picasso deeply revered. The musketeer would come to operate both as a signifier of the great Old Masters and as a psychological substitute for the artist himself.In the mid-1960s, Picasso, whilst recovering from surgery, devoured literary classics such as Shakespeare, and Alexandre Dumas' The Three Musketeers. Simultaneously, Picasso studied Otto Benesch's landmark publication of Rembrandt's drawings, as there was a revived interest in the great master on the occasion of the three hundredth anniversary of his death. Picasso grew fonder of Rembrandt's work and saw an opportunity to dive into the mind of his mighty predecessor. A projection of the Night Watch appeared on the walls of his studio, through which Picasso was able to transport himself into the adventurous world of chivalrous noblemen. Like Rembrandt, Picasso was also keen on inserting himself into his works, taking on various guises and approaching his output with a brilliant sense of wit and skill. He increasingly started to relate to the Dutch master, and throughout the final chapter of his life, Rembrandt's artistic universe remained an important source of inspiration for Picasso, as if Rembrandt was 'an all-powerful God-figure whom Picasso had to internalize before he died' (J. Richardson quoted in Late Picasso, exh. cat., Tate, London, 1988, p. 34).In Femme assise et gentilhomme, Picasso subtly disrupts the traditional power dynamics between artist and subject. The musketeer and model behold each other with an uncompromising gaze, but the imposing and elevated position of the female subject lends her a regal air, while the musketeer archetype adopts a more submissive, courtly persona. It is a subtle homage to some of Picasso's earliest works from his artist and models series, which are known to represent Rembrandt and his wife Saskia. The present work was originally part of a sketchbook containing twenty-six drawings which were executed over a period of eight days in November 1970. Completed wholly in India ink, Picasso underscores his mastery of the medium in the present work and thereby affirms his position as one of the greatest draughtsmen of the twentieth century. Alongside its art historical significance, the present work is also distinguished by an exceptional pedigree. Femme assise et gentilhomme was once owned by Heinz Berggruen, an art dealer but - most of all – a close friend to the artist and a passionate collector. He acquired Femme assise et gentilhomme from a private French collection and kept it in his personal collection until his death. Berggruen made a name for himself as a gallery owner in Paris in the post-war era. Originally born into a German-Jewish family, Berggruen lived in Berlin until his early adulthood before fleeing to the US in 1936 where he would spend nearly a decade, holding various artistic positions at public institutions and art journals. After Europe's liberation, he decided to return to the continent and settled in the French capital in 1947. He started a gallery and found his true calling as a dealer. Berggruen quickly ranked as one of the most prominent figures within Parisian artistic circles, with artists like Van Gogh, Cézanne, Matisse, Klee, Arp and Giacometti included in his stable. Picasso, however, would have more impact on Berggruen than any other and would become of great significance to the art dealer, both personally and professionally. The artist entered Berggruen's world in 1951, having already enjoyed a sixty-year long career and celebrated as one of the most famous artists alive. Introduced through their mutual friend Tristan Tzara, Berggruen met Picasso in his studio on the rue des Grands-Augustins. Berggruen recalled that 'in physical terms alone, Picasso was an impressive sight. His wonderful, clear-cut face, his magnificent, large, magnetic eyes, his stocky, athletic body – it was as if every part of him had been cast from the same mould, as if he were his own, self-created masterpiece. During our very first encounter I already found myself enchanted by this man' (H. Berggruen, Highways and Byways, Guildford, 1996, p. 184).After their first encounter, a lifelong friendship was born, and Picasso was added to Berggruen's roster of artists. It marked the beginning of a collecting journey for Berggruen, during which he found some of the finest works and collections from the artist's all-embracing oeuvre. One of the most notable collections that passed through Berggruen's hands was Gertrude Stein's collection of Blue and Rose Period works. To this day, Stein is widely regarded as the first collector to champion Picasso's work. Berggruen's gallery became a hub for American collectors and was frequently visited by influential figures such as Alfred J. Barr and Nelson Rockefeller. For Berggruen, collecting and selling often went hand in hand: 'In my days as an art dealer I was always looking for ways to perfect, enrich and consolidate my Picasso collection. Or, to put it differently, over some thirty years some of the most significant Picassos passed through my hand, and I was all too often confronted with the decision as to whether I should see or keep a drawing, a watercolour of a painting' (H. Berggruen, op. cit., p. 179).On his frequent visits to Picasso in the South of France, Berggruen would bring Picasso news 'from the big world outside' and show Picasso his latest trouvailles. Their last encounter took place in 1969, but Berggruen would remain under the great artist's spell well after that. In the span of thirty years, Berggruen amassed a profound and carefully selected body of works, spanning from the Blue Period all the way through to 1973, the year of Picasso's death: 'by consistently and persistently collecting Picasso's works, I attempted to create an impression of the cosmos of this man, who, like no other, carried within him the lebensgefühl (life-feeling) of an entire century' (H. Berggruen, op. cit., p. 184).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

Antiquities - a Byzantine/Syrian marbled and trailed thread glass bottle, 10.5cm high; purchased as 12th-13th century; a Persian pipe; lapis lazuli egg; C H Brannam Barnstaple cylinder vase (4)

A GOLD COLOURED NECKLACE The woven pipe link necklace to a knot drop with central polished semi circle and tassel terminals, ring bolt clasp, stamped 750 Size/dimensions: 48cm long Gross weight: 29.9 grams Condition Report: Some light wear commensurate with age and use. A couple of slight dents to the woven tube links Condition Report Disclaimer

A Meerschaum "Turks head" pipe, 6 1/2" long, a Meerschaum "lion head" pipe, 6" long, and one other pipe, 5 1/2" long

A Meerschaum pipe, formed as a hawk's claw, two other similar pipes, in cases, an oak and silver plate mounted biscuit barrel, two daggers, 15 1/2" long, a lead tobacco jar and other items

A Petrocelli (19thC Italian) set of three portraits, two of young women, the other of an elderly gentleman smoking a pipe, all signed lower right, 34 x 25cm

An 18th century German faïence stein, with hinged pewter lid engraved 'A.M.Körnerin 1796', the body decorated with figures and flowers against a turquoise ground, and decorated with a figure of a gentleman smoking a pipe and foliage, height 23cm.Additional InformationA couple of small nicks at the base and general patina to the surface with some minor rubbing to the detailing but essentially ok, grubby in parts.

DERBY; a pair of 18th century dry edge figures of a shepherdess and a huntsman, tallest 20cm, with a Derby figure of a musician and a smaller figure of a youth (4).Additional InformationFemale figure - several chips to the hat and possibly some small restoration here. Some crazing. Losses to flowers and foliage throughout. Some rubbing to gilding. Man with dog - restoration to the right hand and arm. Loss to the paper in the left hand. Restoration to the hat and possibly to the neck. Loss to the ear of a dog and many losses to flowers and leaves throughout.Piper - restoration to hat and the three feathers here, also to one arm, both hands and pipe. Losses to flowers and leaves throughout, crazing, etc. Small figure lacking branch to left, hat restored, restoration to the front of one foot, other small chips, grazes and wear. 

HENRY MATTHEWS; an Edward VII hallmarked silver mounted jewellery box, the oval cover with repoussé decoration of Reynold's angels, Birmingham 1906, together with a hallmarked silver bonbon dish, a cut glass dressing table with hallmarked silver cover and a silver and enamel mounted brush, also a Chinese opium pipe (5).

A BOX OF COLLECTABLE'S TO INCLUDE TOY VEHICLES, A PIPE ETC

Pair: Captain C. G. Collins, Cameron Highlanders, who commanded the Howe Battalion of the Royal Naval Division throughout the Gallipoli campaign and ‘led a dashing life that made the romantic heroes of fiction seem pale’ Queen’s South Africa 1899-1902, 4 clasps, Cape Colony, Orange Free State, Johannesburg, Diamond Hill (Lieut. C. G. Collins. 1/Camn. Hdrs.) engraved naming; King’s South Africa 1901-02, 2 clasps, South Africa 1901, South Africa 1902 (Lieut. C. G. Collins. Cam. Hrs.) engraved naming, edge nick to QSA, otherwise about extremely fine and the recipient’s only extant medals (2) £700-£900 --- Charles Glen Collins was born in 1880, the grandson of William Collins who founded the well-known publishing firm of the same name. He was educated at Cheltenham College, where he was an outstanding sportsman, and the Royal Military College Sandhurst. Commissioned into the Queen’s Own Cameron Highlanders on 14 September 1898, he joined his regiment in Cairo after the conclusion of the Sudan campaign. His colourful unpublished memoirs in the National Army Museum (Archives 2007-07-02) give a full account of the pleasures of peacetime soldiering in a crack Highland regiment. He played on the regimental polo team, shot duck and left detailed accounts of regimental customs such as dinner nights and subaltern’s court martials. His time in Egypt was not without incident. He was challenged to a duel in Alexandria after an altercation over a Hungarian dancer and he was nearly lynched in Marseilles on his way home on leave. Having pushed a drunk cab driver, who fell over, word spread along the corniche that an English officer had killed a Frenchman. Memories of the Fashoda incident were fresh and a mob soon attacked the Hotel De Noailles where Collins was staying and in his pyjamas by that time. ‘Stones and missiles were every moment breaking the windows in the hotel. The affair of the drunken cabman was beginning to assume serious proportions. At the same time loud knocking at my door announced the arrival of the hotel manager who, badly frightened, very strongly suggested that I should go out and quiet the mob. I saw that this man had completely lost his head so I slammed the door and locked it in his face. I then pushed a large wardrobe in front of the door, drew my Claymore, which happened to be among my hand luggage and decided to put up the best fight possible under the circumstances. I then saw through the window that a large body of police, both on horse and on foot, had arrived. A few minutes later, imperative orders to open my door, with the repeated mention of “Police!” caused me to push aside the wardrobe and admit a Captain of the Gendarmes. He also appeared somewhat excited so I decided it would be wise to start off by handing him a hundred franc note.’ The Boer War, Kitchener’s Fighting Scouts and Mentioned in Despatches Collins survived the ordeal and was later recalled from leave in England to re-join his regiment in Cairo. It was held in readiness for immediate embarkation for South Africa. The 1st Battalion Cameron Highlanders arrived in South Africa on 23 March 1900 and fought their way to Pretoria as part of the 21st Brigade in General Ian Hamilton’s force. Their exploits were well recorded by Winston Churchill in his book Ian Hamilton’s March. They covered over 2,500 miles on foot. For his part, Collins noted that Churchill and the Duke of Marlborough, on the staff, were billeted next to their lines: ‘We were always entertained by observing that the Duke invariably did all the dirty work: pitching and striking their bivouac, cooking and cleaning the pots and pans while his cousin smoked his pipe and freely criticised him.’ On 10 June 1901, Collins was appointed Adjutant of 1st Kitchener’s Fighting Scouts with the rank of local Captain. He was only twenty-one years old. Kitchener’s Fighting Scouts was an irregular regiment of volunteers raised in December 1900 and commanded by the legendary colonial warrior, Johan Colenbrander, called ‘The White Whirlwind’ by the Zulus. They fought the Boers, General Beyers and his commando especially, in the harsh Northern Transvaal. The officers and Troopers were some of the toughest Rhodesians, South Africans, Australians and Americans. They were notoriously averse to the discipline exerted by a regular Adjutant but which was required if the regiment was not to run amok, as happened to ‘Breaker’ Morant and the Bushveldt Carbineers operating in the same area. Collins’s memoirs detail some of the incidents he dealt with, including the execution of three captured Boers who were dressed in British uniform and had lured some of the KFS into a lethal ambush. Colenbrander and his men captured many Boers, their laagers, wagons and cattle but not Beyers during the guerrilla war. Colenbrander recommended Collins to Lord Kitchener for an award on 23 December 1901: ‘Capt. C. G. Collins, S.O. and Adjt. 1st K.F.S. (1st Cameron Highlanders). To whom as my Staff Officer I have always left the organisational work of the Column and to whose capability I attribute in a great part captures and successes we have been able to make’; and again on 28 April 1902: ‘Adjutant 1st K.F.S. and Staff Officer to my column to whose untiring energy and most able management I owe in great measure any success we may have accomplished. To this officer I have on all occasions entrusted the whole of the organisation of the Column, and his assistance to me has always been of the most ready and practical order’ (The National Archives, Kew, WO108/140 & 141). Collins was Mentioned in Despatches in Kitchener’s final despatches (London Gazette 29 July 1902). Balmoral, bankruptcy, marriage and divorce in the U.S.’s ‘Gilded Age’ Collins was chosen as one of the three Cameron officers of the first King’s Guard to be mounted at Balmoral during King Edward VII’s reign. His memoirs contain much detail about life at Balmoral and the Royal family, some of it repeated in a series of articles about Collins published in the book Mississippi Gumbo by Bob Jones in 2003. Collins’s time at Balmoral got off to a shaky start when he nearly crashed his newly acquired car, a Panhard Levassor, into a coach containing the Princess of Wales and her five children including the future Kings Edward VIII and George VI. He was ordered to garage the car for the remainder of his duty. Collins was an inveterate gambler, at Monte Carlo and on the racecourse. He later attributed his financial difficulties to backing bills for his friend Charles Innes-Ker, a Gentleman Usher to the King. Whatever the cause, according to Collins it was ill-health, he resigned his commission in February 1904 before he was declared bankrupt in September 1904. By this stage he was in New York and conspicuous as a polo player and charming member of the Gilded Age set which included his friends the Vanderbilts, Goulds and Belmonts. In April 1904 he had married the American heiress Nathalie Schenck, the ‘Granddaughter of Brooklyn’. The marriage was short lived, not least because of his gambling. He lost a quarter of a million dollars on Boxing Day night in December 1904 playing baccarat at the Khedieval Club in Cairo. She divorced him in 1905. Collins spent the next ten years in recurrent financial difficulty in the United States, often reported in the U.S. papers. He set out to marry an heiress. In 1911 he was engaged to be married to Clara Parks, stepdaughter of the millionaire John H. Parks. The engagement ended when Princess Zoltykoff, the former burlesque dancer Ethel Clinton, accused him publicly of having appropriated two valuable Chinese vases from...

Cased WHO smoking pipe with a 9ct gold band. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

A mixed lot including medals, penknives, pens, pipe etc.

Victorian Royal Worcester Blanc De Chine 'Kate Greenaway' figurine or trinket bowl of a boy playing a pipe. Puce painted and impressed marks to the underside. (B.P. 21% + VAT)

Dust bin of tools, pipe benders etc, not including bin. Not available for in-house P&P

Pair of record 218M 22mm pipe benders. Not available for in-house P&P

Raffaele Frigerio (Italian, 1875-1948): a pair of oils on canvas one depicting a bearded gentleman wearing a turban the other of a fisherman smoking a pipe, damage to latter, Medici gallery label verso, one unsigned, 28 x 39 cm. Not available for in-house P&P

THREE LATE 19TH/EARLY 20TH CENTURY BRASS VESTA CASES. with enamel decoration "IT ALL ENDS IN SMOKE", "IM A BIT OF A LYRE MYSELF" & "JUST ONE SMOKE PIPE MORE"; the latter 2.3" (6cm) high (3). **BP: 22.5% (inc VAT) + Lot Fee of £8

Two wooden smoking pipes boxed with an antique British Butner pipe reamer, together with a wooden pipe stand, a set of decorated bellows, a lacquered trinket box and a pair of painted eggshell ornaments. (8)

A box containing vintage kitchenalia including muffin dishes, cake tins, press, pipe funnels etc.

An Einhell polisher (continental wiring, boxed) together with a Ridgid metal cased pipe threading set.

A Japanese painting on silk: depicting a man smoking an opium pipe whilst tea is prepared and an attendant repairs his kimono, mounted and framed, 32 x 40cm.

NEAPOLITAN SCHOOL: A PORTRAIT OF A RAGGED BOY, IN STRAW HAT, SMOKING A PIPE oil on canvas 20.5 x 26.5cm plus frame (damaged), and a naive oil on canvas floral study, in gilt frame (2)

A pair of chinoiserie papier mache wall bracket pipe holders 18x11cm and a pipe; Queen Victoria stamp case Reg'd Aug. 7th 1874; a Fowler's "Universal" calculator in a leather case with instruction booklet; Nina Ricci glass perfume bottle pendant on a chain, boxed.

Victorian cast iron water pump, scrolled handle, on a cast iron pipe.

Four Staffordshire Toby jugs, all with Mr Toby seated with ale and pipe, three with covers; a Wedgwood Jasper ware vase, large Poole Pottery vase with twin-handles to the shoulders, a Nemadji Pottery Native American ewer, etcQty: 1 box

Madeley, George Edward. Line of March of a Bengal Regiment of Infantery. Lithographisches Titelblatt mit kolorierter Vignette und Panorama in 22 kolorierte lithographische Tafeln, montiert zum Leporello. 7,8 x 32 cm. Blindgeprägtes Leinen d. Z. (etwas beschabt, berieben und bestoßen, Bindebänder defekt) mit goldgeprägtem VDeckeltitel. London, Madeley, Ackerman & Co., (um 1843). Abbey Life 515. Bobins Supp. 08/14. - Überaus seltenes, hübsch koloriertes Panorama der "Bengalische Infanterie" von Scinde (Sindh, einer der heute zu Pakistan gehörenden vier Provinzen), einem Zug von einheimischen Soldaten aber auch Zivilisten im Dienste der East India Company, die der Künstler Frederic Peter Layard (1818-1891) in sehr phantasievollen, reizend kolorierten, langrechteckigen Lithographie-Tafeln nach einer Idee des Lithographen und Graphikers George Edward Madeley (1798-1858) darstellte, wobei er in Hunderten von Details das Leben der indisch Menschen islamischen Glaubens (heute der Pakistaner) in der englischen Kolonie darstellte. Frederic Peter Layard gehörte einer bekannten Familie in Ceylon an. In seinem Panorama zeigt er nicht nur die militärische Vor- und Nachhut auf der Marschroute durch Indien, sondern auch viele Szenen aus dem Leben der Bevölkerung, die mit in Stein gebrachten Bildunterschriften versehen wurden: "Clashi or Tent Pitcher, Massalchee, Palkee, Band, Orderly, Brahmins Praying in a Tank, Native Doctor, Hackery with Sick, Breakfast Kit, Halfway Coffee Club" und vieles mehr, also Ansichten vom Aufschlagen der Zelte bis zu den verschiedenen Teilnehmern des Marsches, darunter der Grasschneider, die Träger der Vorratskammern, die Kavallerie mit dem Gepäck, der Kaffeeklub auf halber Strecke ("Halfway Coffee Club"), die irreguläre Kavallerie mit den Depeschen, die Kamel-Karawane mit dem störrischen "Bagage Camel of The Russud Guard" mit dem Kameltreiber, der das arme Tier schlägt, dem "Private Tent Pitcher & Master's monkey" mit einem auf dem Kamel turnende Affen, ein Fakir, der wilde Tänze auf einer Matte mit Rauchgefäßen aufführt, ein Kranker in einer Lazarett-Sänfte, der "Moonshi in a Bylee", ein Buch lesend, gefolgt von einem Gefangenentransport "Guard escorting prisoners" und vieles, vieles mehr. Ausführliche Beschreibung findet sich in einer Aufnahme der weltweit nur wenigen in öffentlichen Bibliotheken bewahrten Exemplare in der British Library: "From the beginning of the column to the end: a khidmutgar (or table servant) and a cooly bearing a cooking set, a mounted jemadar in command of a foraging party, three camels laden with the officer's baggage, a private tent pitcher pulling on the chain of a pet monkey, a mehtur (or groom) leading two dogs, a bheestie (or water-carrier) with his water-skins on his back, a dhobie (or washerman) leading an ox on which his wife rides, a chokedar (or guard) with a spear over his shoulder, a naik (or corporal) of the Bazar Guard, two dundias (or baggage carriers) bearing the Bazar Flag, directed by an officer and annoyed by a pariah dog, a bunneah (or chandler) with donkeys loaded with regimental supplies, an old Indian gentleman and his servant, a dundia with a book under his arm, a pandit with baggage on his back, camels and ox-carts laden with baggage, a puckauli (or water-carrier) and his ox laden with two enormous water skins, a bhangi burdar (or baggae carrier) with two crates on a shoulder yoke, a berri wallah (or shepherd) with the regimental cattle, sheep and goats, an elephant laden with the mess tent, a boburchi (or cook) and the mess khidmutgar with four camels laden with food and mess stores, a naked dancing fakir with long fingernails, the quarter-master, mounted on a lively horse, a saes (or groom) with a fly-whisk, four bearers carrying a dooly (or litter) with an invalid inside, the mess khansaman (or butler) mounted on a mule, a caparisoned horse, irregular Scindian troops, one smoking a pipe, a grass cutter with his load on his back, a moonshi (or linguistic scholar) riding in an ornate bylee (or ox-cart), chained prisoners under guard, two Scindian irregulars, a massalchee (or kitchen servant) with his shoulder yoke, four bearers resting by a palkee (or palanquin) with a reading occupant, an officer in command of the advance guard, standing by his horse and directing his troops crossing the river, a native NCO beating a horse, a bearer with a chair on his head, a mounted duffadar (or irregular officer) bearing despatches, two bearers with camp furniture, a sowari (or mounted orderly) and an officer on a camel, bearers with the breakfast kit and two goats, the halfway coffee club taking place under a tree beyond, two camels laden with baggage and a woman riding in a bylee, two dak runners (or messengers), mounted European officers in undress uniform, a native guide with two soldiers, the band with various musical instruments, a lady in a riding habit and veil with a European officer companion, the commanding officer of the regiment on foot with his orderly and his horse behind, the main body of the infantry overseen by native officers, two brahmins praying in a pool and a woman bearing water, a mounted native doctor with three camels laden with his hospital equipment, an ox-cart with invalids, camels laden with the powder magazine, workers striking tents beyond, a European officer addressing his men, a clashi (or tent pitcher) bearing flags, two thundi wallas (or colour sergeants) with the colours and leading a baggage camel, the mounted sergeant major, camp followers with a baby in a sling, men beating a stubborn camel with the baggage of the Russud Guard" (British Museum Catalogue). - Die Tafel mit dem Titel ist fest auf den vorderen Innendeckel montiert, die erste Tafel auf den hinteren Innendeckel, von da aus lässt sich das Leporello aufschlagen zu einem über sieben (!) Meter langen Panorama. Winzige, wenige hs. Einträge. An den Montagefalzen ist es dann oftmals brüchig, teils auch mit Papierstreifen oder Gazestücken alt hinterlegt, mit gelegentlichem kleinen Darstellungsverlust durch Löcher, wenige Ein- und Ausrisse sowie Oberflächenberieb und wenigen Wurmgängen, an zwei Montagefalzen lose. Wenige dilettantisch geflickte Risse. Vereinzelt gering fleckig und etwas unfrisch, mit wenigen Knick- und Knitterspuren, grundsätzlich restaurierungsbedürftig, aber insgesamt vollständig und in überzeugender, schöner Farbigkeit.

A smokers cabinet with drawers, bowl, pipe and decanter

Two Victorian 19th century Nailsea ornamental glass pipe decorated with white & candy pink swirls. Largest measures approx. 49cm long. The lot appears in overall good condition with minor wear & tear commensurate with age.

Two Victorian 19th century Nailsea ornamental glass pipe with alternated white & candy pink striped decoration . Largest measures approx. 41cm long. The lot appears in overall good condition with minor wear & tear commensurate with age.

Two Victorian 19th century Nailsea ornamental glass pipe decorated with white & cranberry pink swirls. Largest measures approx. 50cm long. The lot appears in overall good condition with minor wear & tear commensurate with age.

Two Victorian 19th century Nailsea ornamental twisted glass pipe in a cranberry colour with white rims. Largest measures approx. 48cm long. The lot appears in overall good condition with minor wear & tear commensurate with age.

A VAX 121 VACUUM CLEANER some damage to pipe along with a Vax C88-P5-B vacuum cleaner (both UNTESTED)

A GROUP OF SEVEN EARLY VICTORIAN CERAMICS, comprising a large Staffordshire figure of Shakespeare c.1870, height 45.5cm (crazing and three hairline cracks), two oak framed porcelain pot lids 'The Village Wedding' and 'The Enthusiast' (The Village Wedding is loose in frame with light surface scratches), a 1840-1860's two handled earthenware Toad Mug, two raised relief panels of men drinking ale, with a painted legend 'Willie brewed a peck o' maut', inside is a yellow and black toad, height 15cm x diameter 14cm, stamped URIELA on the base (crazing and paint chips around rim and handles), two toby jugs, one has a caryatid handle, holding a jug and beaker, height 25cm (broken head, hat and handle have been restored), the other is holding a jug and pipe, height 25cm (the pipe has lost an end piece, hat has a few nibbles, paint chipped on handle), together with a small figure of a Turkish/Greek couple, height 13.5cm (7) (Condition report: obvious damage is mentioned in description)

A FLIGHT AND ROBSON PIPE ORGAN IN NEED OF RESTORATION may have some internal working losses, some cabinet losses

A Chinese bone opium pipe with figural decoration, 46cm wide

Ostade, Adriaen, nach.Zwei Pfeiferaucher. Öl auf Pappe, re. u. bezeichnet "Ostade", gerahmt. Ra. 33 x 29 cm After Adriaen Ostade: pipe smokers, oil/ cardboard, enscribed "Ostade" lower right, framed. 33 x 29 cm

19th CENTURY BLACK FOREST CARVED CAT PIPE RACK A superb late 19th century carved Black Forest Pipe Rack. 3 well executed carved feline masks with glass eyes (one eye replaced). Otherwise good condition. 19.5cm W x 16cm H x 9cm D.

COLLECTION OF 5 VINTAGE TOBACCO SMOKING PIPES ROAB CARVED BULL ETC..  A collection of 5 vintage pipes including, a ROAB carved Bull with glass eyes and a ceramic pipe bowl. All in good condition with small signs of use. 

Under a wooded low slope, a path with two visible tracks leads towards the center of the picture to a distant village. Old trees with many branches and delicate narrow leaves are detailed in many different tones; from yellow-green to dark green. In the lower left corner is a small body of water, into which water flows through a wooden pipe. Behind it are tree trunks, which can also be found in the lower right. An atmospheric painting with many differentiated color tones under a high, light blue sky, with white-gray cloud formations. Oil on wooden panel. Size 46 x 54 cm. In a gilded frame.

Late 19th Century, British School, two oils on canvas. A man with pipe and violin and another with with two girls in an embrace, each in winter landscape. Each unsigned, in giltwood frame, 38cm x 25cm exc. frame (2)