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A COLLECTION OF CHINESE CERAMIC MUDMEN TO INCLUDE A SHIWAN WOODCUTTER FIGURINE - 24 CM TOGETHER WITH A SHIWAN MUDMAN WITH A PIPE AND HAMMER - 19 CM AND A WISEMAN - 9 CM

An early 20thC Arts and Crafts oak magazine and pipe rack, by Arthur Simpson of Kendal, with scrolls and slats, inlaid with flowers, 36cm x 63cm wide.

Record 93 1/2 4 inch pipe fitters bench vice. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

A 19th century Prattware moon flask vase depicting the Great Exhibition, height 17cm (rim a.f.); a similar spill vase 'Passing the Pipe', height 11cm (vertical hairline cracks)

Henry Thomas Alken, British 1785-1851- Studies of a huntsman with dogs and a man smoking a pipe; pencil on paper, 19.3 x 11.8 cm. Provenance: With JS Maas & Co., London.; Private Collection, UK, since 1968.; By descent. Please refer to department for condition report

Périclès Pantazis, Greek 1849/50-1884- Portrait of a gentleman, bust-length, wearing a hat and smoking a pipe; oil on board, signed 'Pantazis' (lower left), 44.5 x 37.2 cm., (unframed). Provenance: Purchased directly from the artist's family in Athens in 2000 by the present owner. Note: Pantazis was an important Greek Impressionist artist of the 19th century, who studied under artistic figures including Gustave Courbet (1819-1877) and Antoine Chintreuil (1814-1873). Please refer to department for condition report

Colclough and other teaware, Oriental bird pictures, hookah pipe, etc.

Whitaker (W.G.) North Countrie Ballads, Songs and Pipe-Tunes, 14mo, paper covs., Newcastle, 1921; Thompson (W.) Select Portions of the Psalms Together With Their Proper Tunes, sml. 8vo, calf, Newcastle, 1763; The Life of James Allan... Northumberland Piper, 8vo, boards, illus. with engraved frontispiece, new edition, Blyth, 1818; Transactions of The Northumbrian Small Pipes Society, 1894, 1896 and 1897 complete, together with Fenwick (J.W.) Instruction Book for the Northumbrian Small Pipes, 1896, all bound together, 4to, half-morocco, Howard Pease's personal copy with bookplate; together with unbound manuscript and typescript letters and related ephemera.

A DELLA ROBBIA THREE SECTION RECTANGULAR PLAQUE MOULDED IN RELIEF WITH A PROCESSION OF CHILDREN THROUGH A WOODLAND SETTING, in possibly after a design by Ellen Mary Rope and decorated by Marianne de Caluwe, the plaques fitted in rectangular stained pine frame and the reverse of each plaque incised with 1, 2 and 3 within a circle and the end plaques impressed with the Della Robbia mark with 1901, the centre panel faintly painted with 'M d C', internal measurements height 25cm x width 126.3cm, external dimensions height 36.3cm x width 137.6cm x depth 6.3cm (Condition report: the glazed front is crazed throughout, left hand panel has losses where it abuts the centre panel, the centre panel has a glaze chip to the top of the tree trunk on the left hand side, to the end of the pipe and a dress in the centre and a small chips to the top and bottom of the tree trunk on the right hand side, the right hand plaque looks to be in a better state, all three panels are very dusty, the plaque has not been taken out of the frame therefore the edges have not been inspected and cannot be guaranteed, the frame has evidence of there having been further wall brackets, several small chips to the back of the plaques but no major damage noted)

A Novelty Pipe in the Form of a Bulls Head, One Horn Missing

A 19th Century Staffordshire Pottery Toby Jug, Gent with Pipe and Jug of Ale, "Hearty Good Fellow", Condition Issues, 29cm high

A Late 19th/Early 20th Century Cranberry Glass Bubble Pipe, Probably Nailsea, 78cm Long

Old Chinese opium pipe, possibly Paktong

An assortment of furniture and collectables. Comprising a bamboo side table, 51cm x 36cm x 70cm, an Arts and Crafts brass mounted mahogany magazine rack, an embossed brass mounted magazine rack, small square side table and a folding pipe rack

Ladies evening bag, leather wallet, plated scroll case, Meerschaum pipe in case, Fisherman's Friend tin, three miniature signed prints and a small quantity of costume jewellery

Late Meissen figure of a boy musician with pipe and drum, blue cross swords and impressed marks to base, 5.5ins high

Whitefriars white enamel bowl, candleholder, pipe and five other various small items

Cigarette cards, Player's, Advertising cards, four type cards, Old Salt (marked to back), Old Salt with Pipe (small mark to top front edge), Beauty (face on) & Beauty (looking left) (grubby) (fair/gd) (4)

Military Plaid Brooches, 15 reproduction brooches to include Highland Light Infantry, Royal Highland Fusiliers, Gordon Highlanders Pipe Major, Royal Scots Greys, Glasgow Highlanders, KOSB, Tyneside Scottish, Canadian Black Watch, 15th Volunteer Battn. Parachute Reg. Piper etc. (gen vg) (15)

Postcards, Military, a collection of approx. 25 cards of military bands, with RPs of 1st Devonshire Regt. (drums), 1st Somerset Light Infantry, Marine Light Infantry, Lieut Amer's Band, King's African Rifles, Gold Coast Regt. Band, Gravesend Band, Coldstream Guards, Bays Band, 31st Signal Corps, R.G.A.V Band, Royal Artillery Band, Pipe Band 2/4th Cameron Highlanders (2) etc (mainly gd)

Plaid Brooch, 'The Cameronians' Scottish Rifles, a Scottish Pipe-Major's modern white metal plaid brooch engraved with regimental badge and 15 battle honours, the first being Blenheim and the last S Africa 1877-89, inset with a large facet cut 'cairngorm' (approx. size 11cm) sold together with a regimental Beaufort whistle on 3 chains attached to a decorative pin depicting battle honours (gd) (2)

A large French bronze Bacchus group of three putti, the central raised figure with tambourine, another with a pipe, the third dancing, on a naturalistic base, 61cm high/see illustration CONDITION REPORT: Condition information is not usually provided in the description of the lot but is available upon request; the absence of a condition report does not imply that a lot is without imperfection

An early Dutch gilt framed painting on board of a man with a tankard and clay pipe. 44 x 39cm

GILT FRAMED OIL ON CANVAS OF JEWISH MAN SMOKING A PIPE BY ARTHUR KYNASTON

A plastic box containing a Tilly lamp, shovel, pipe bender etc

Two reels of plastic pipe

NOVELTY WOODEN BAR TOOL SET FORMED AS FIGURES, TOGETHER WITH VARIOUS NOVELTY BOTTLE STOPPERS, CORKSCREW, TOBACCO PIPE ETC

Manner of David Teniers The Pipe Smokers, oil on metal panel, 19 x 16cm

Vintage silver mounted/ rimmed Maroo Meerchaum pipe

Sherbet Pipe poster, approximate poster measurements: 16.5 inches by 21 inches

Collection of cheroot holders to include a hallmarked silver example in original silver case, cased amber cheroot holder, tortoiseshell, meerschaum and amber examples, together with a figural meerschaum pipe in the form of an Arabic man's head (6)

A Lubinski two-drawer pipe case, to/w a collection of advertising and other penknives

Maritime interest: a carved wood belaying-pin (cosh), the canvas sleeve with ropework binding, 31 cm, to/w a pair of screw-action shoe-stretchers, African dagger, teak double-pipe flute and bookends

A variety of interesting and collectable items to include:antique brass-faced bellows;two pairs of field glasses;a silver-plated leather-cased hunt cup;a pair of Swiss wooden 'cow bells';a stoneware bottle;a cased Meerschuam pipe;a custom-made stationary beam engine with spirit burner;Condition Report: There is some damage to the meerschaum pipe. The head of the figure is off, the bowl is away from the stem, both the hands of the figure are gone.

An interesting assortment to include a 19th century silver-mounted Malacca walking cane; one other ebonised example with a silver collar; a pair of leather-cased field glasses by Luxibar (8 x 25) and an unusual miniature novelty stained meerschaum (in imitation of coral) amber and white-metal mounted pipe, the bowl modelled as a horse's hoof with white-metal horseshoe, the foliate engraved ferrule with vacant shield-shaped cartouche (10cm) (4)

‡ SEREN MORGAN JONES oil on canvas - figure wearing Welsh pipe-hat seated at a laboratory microscope, entitled verso 'Biologist'Dimensions: 26 x 20.5cmsProvenance:private collection Gwynedd, consigned via our Colwyn Bay officeCondition Report:unframed

A cased white metal and amber mounted Meerschaum Pipe, in the form of a beasts claw, in fitted case, together with two other pipes, a leather cased glass bottle etc (a lot)

cylindrical and on spreading slightly stepped foot, the pull-off cover with carved wood and resin pipe finial12cm high, gross weight 10oz 13dwt, 332grFully marked near rim. Further part marked on cover bezel. The marks are generally clear. There is some surface scratching and wear, consistent with age and use. One end of the pipe has been re-glued with some excess glue visible. There are some very minor bruises.

A box containing novelty pipe rack with pipes, tobacco jar, Wedgwood jasperware, and a steam engine

A Marlin base guitar with guitar pitch tuner pipe and carry case with gig case

A Chinese Rootwood Carving, late 19th century, as a beaded ascetic lying on a tree trunk, 27cm long; A Similar Carving of a Temple Dog, with its young and a brocade ball, 26cm long; A Pair of Lacquered and Carved Bamboo Brush Pots, decorated with trees and fans, 22cm high; An Opium Pipe; A Brass Infuser; Two Bamboo Pipes; A Brass Plaque, depicting various deities, 41cm by 27cm; and A Printing Block (10)

TWO VINTAGE PLANES,along with a a barometer, a group of wooden trinket boxes, two Salter's spring balances and a group of ceramics including a pipe ,.

Pearl Championship Pipe Band Series snare drum, 12x14 in red together with a carrying case and knee rest 

Tri-ang Scalextric (MM/B1) Motor Cycle Racing Typhoon motorcycle and sidecar, racing number 5, with green body. Boxed with inner yellow packing piece, minor wear. Motorcycle VGC, minor silver paint loss to raised areas (exhaust pipe etc). £40-60

3 Matchbox Superfast. 10d Leyland Pipe Truck. Orange body, silver plated base and grille, blue glazing, complete with 6 loose grey plastic pipes. 21d Foden Concrete Truck. Bright yellow, with yellow drum, red chassis and green base. Plus 23f Atlas Truck, metallic blue cab and chassis with an orange body, clear glazing, no labels example. All boxed, minor wear/pen marking to one. Vehicles VGC-Mint. £40-60

A GROUP OF CHINESE CLOISONNE ENAMEL ITEMS, 19/20TH CENTURY. To include a pair of bottle vases with dragon decoration, a pair of candlesticks with dragon decoration, a circular box and cover and a water pipe. Bottle vases 16cm height. (6)Two dents plus small area of enamel loss to the body of one bottle vase, the other in good condition. Both candlesticks in good overall condition. The box and cover in good overall condition, only defect to the rim which is off shape. The water pipe with damage and enamel loss to the body.

A late 19th century fruitwood carved ink well in the form of a pear and leaf and glass insert together with a Bruyere root pipe with a horn mouthpiece. (2)

An early 20th Century brass car horn in the form of a Boa Constrictor's snake head. With graduating articulated tail pipe and fixing bracket. Original glass eyes, mouth interior and tongue painted red. Marked "British Made 749". Tail end fixing bracket missing. Needs new rubber bulb, original is present but perished. Approx. 112cm long.

A 'Tubogas' ring, Bulgari, composed of gas-pipe linking, signed, stamped 750, Italian maker's mark, size M 1/2,

Two sash clamps and two ladder racks RAK and a pipe bender

Two plaques, to include C Eric Rickard 1957 Bourne, Auto Parts Limited and Pipe Fabricators Stamford Limited. (3)

JOAQUÍN PEINADO (Ronda, Malaga, 1898 - Paris, 1975)."Composition with a Pipe", 1943.Oil on canvas.With the label of the Carmen Aranguren Gallery (Seville) on the back.Signed and dated in the upper right corner.Measurements: 22 x 35 cm; 25 x 38 cm (frame).The instability and unrest caused by the Second World War distanced Peinado from easel painting, and he focused on making drawings which he sent to different publishers and which helped him to survive. For this reason this work is of great importance, as it marks the moment when Peinado returned to painting, with a less avant-garde conception, assimilating a "return to order" aesthetic, which was common to many painters due to the political situation of the time. During that period he focused particularly on still lifes, as can be seen in this painting, which has a post-Cubist aesthetic.Joaquín Ruiz-Peinado Vallejo was a Cubist painter, successor of Cézanne and spiritual son of Picasso, and one of the most outstanding representatives of the Spanish School of Paris. He entered the San Fernando School of Fine Arts in Madrid in 1918 and in the following years became a pupil of Cecilio Plá and Julio Romero de Torres, and was awarded a scholarship for three years at the Monastery of Santa María de El Paular, winning the El Paular Painting Prize in 1922. In 1923, once he had finished his studies, he went to Paris, where he settled permanently. There he attended the classes given at the Ranson, Colarossi and La Grande Chaumière academies and at the same time became interested in Cubist painting, an aesthetic he would personalise and maintain in his works. In 1924 he also showed his work at the Salons des Indépendants, Surindépendants and d'Automne. Nevertheless, from the city of the Seine he continued to be part of Spanish artistic life, taking part in the mythical First Exhibition of the Society of Iberian Artists in 1925, and illustrating the magazines "Litoral", "Gallo" and "La Gaceta Literaria", as well as "La flor de California" (1928) by José María Hinojosa. In 1926 he also won the Painting Prize of the Diputación de Málaga. Three years later, in 1929, he took part in two important exhibitions of avant-garde art in Spain: the Exhibition of Paintings and Sculptures by Spanish Residents in Paris, at the Botanical Gardens in Madrid, and the Regional Exhibition of Modern Art, at the Casa de los Tiros in Granada. He was also involved in the performing arts, like other artists of the time, participating in the films "Un perro andaluz" (1929) and "La edad de oro" (1930), by his friend Buñuel, and as a set designer and draughtsman for Feyder's "Carmen" (1925). In 1926 he also took part in the performance of Falla's "El retablo de Maese Pedro" in Amsterdam together with Buñuel, Cossío, Viñes and Ángeles Ortiz. In time, his artistic career would lead him to occupy a prominent position within the School of Paris; he would become director of the Painting Section of the Union of Spanish Intellectuals and later vice-president of the same, and UNESCO would appoint him delegate of the Section of Spanish Painters of the School of Paris. In 1946 he was also one of the organisers of the exhibition "Arte de la España Republicana. Spanish Artists of the School of Paris", held in Prague and, due to its enormous success, later also in Brno. From that date onwards his international exhibitions were frequent, both individual and collective, and he was grouped together with the best French art of the time. However, it was not until 1969 that a retrospective of his work was held in Spain; organised by the Dirección General de Bellas Artes and held at the Museo de Arte Español Contemporáneo in Madrid, this exhibition consecrated his figure in our country. In fact, that same year he was made a member of the Royal Academy of San Telmo in Malaga. His work is currently widely represented in the museum that bears his name in Ronda.

Sir George James Frampton, RA (British, 1860-1928): A rare and apparently unique patinated bronze bust of St. Georgedated 1905the young male saint clad in armour with downcast eyes, his helmet with deep visor adorned with chain mail, his breastplates with two buckled straps, his backplate with a single buckled strap, his right shoulder raised, the arms erased, the rear signed and dated G.FRAMPTON, 1905, 38.5cm high overallFootnotes:Provenance: By family repute gifted by the sculptor to the vendor's great grandfather, John Henry Frederick Bacon, ARA (British, 1865-1914)Thence by descent to the vendor.Frampton and St George:The present lot, dated 1905, appears to be a cast bust reduction study for the smaller than life size bronze figure of St George on the King Edward VII Memorial in Northampton which was unveiled by King George V in 1913. The warrior saint is depicted on the monument as a slender, beautiful young man in elegant armour and there are undoubtedly influences of Frampton's contemporary Albert Gilbert who produced his own figure of St George for the Prince Albert memorial in the chapel at Windsor, dating from some ten years earlier. Frampton's full length figure of St George for the Northampton monument holds his right arm aloft as if indicating a weapon being raised above his head (originally the figure held a long sword, almost the height of the figure - now lost) and includes full armour and shield. Although the offered bust mirrors the pose of the full figure with the indication of an upheld right arm, these are not included in the composition. As such the feature of the neatly erased arms to the bust perhaps suggests that the cast, as a finished composition, may have been taken from the working model, perhaps as a gift. This is also confirmed by its earlier date (1905) in comparison to the monument (1913). In addition the use of St George as figural theme was not unique to the Northampton monument. Frampton's interest in St George as a theme however dates back to the late 1890s as he adapted his figure of the saint from a statuette of St George that surmounted the orb held by Queen Victoria on his famous and highly acclaimed Calcutta Memorial commissioned to commemorate the Diamond Jubilee. Although the statuette differs from the Northampton figure in that the right arm of the former is not raised, its influence is still undoubted. The importance of this small statuette to the overall composition is certainly felt by the writer of The Introduction to Royal Academy Pictures in 1899 who stated that statuette 'is the one power in the art world that sees irresistible, and its influence is daily becoming more convincing.Similarly, Frampton later used his figure of St George from the Northampton monument as the basis of his Maidstone War Memorial, with a near identical St George used in similar pose but holding a flagpole in place of a sword which was inaugurated in 1922. Sir George James Frampton, RA (British, 1860-1928):A key figure in the New Sculpture movement that championed dynamism and physical realism in sculpture, Sir George Frampton is best known today for his statue of Peter Pan, installed in Kensington Gardens.Frampton was born into a family of stone carvers. He initially worked in an architect's office before deciding to follow his father's profession. He studied sculpture at Lambeth School of Art and the Royal Academy Schools, where he met the artist Christine Cockerell. The two married in 1893 and their son, the painter Meredith Frampton, was born the following year. Frampton's reputation rose rapidly and he attracted early acclaim for his skilled use of many different materials, such as in his 1899 polychromatic bust, Lamia. Together with Lord Leighton, Sir Alfred Gilbert and Hamo Thornycroft, his work was seen as part of the 'New Sculpture' movement and was characterised by a sense of dynamism and layers of rich symbolism. After Queen Victoria's death in 1901, Frampton was commissioned to produce a bronze portrait bust to be installed in Calcutta and a full-length statue for memorials in Winnipeg, Merseyside and Leeds. He was elected a Royal Academician in 1904 and knighted two years later. Frampton enjoyed collaborating with architects and carried out decorative friezes for many public and private buildings, including Lloyd's Registry of Shipping, London (1898- 1901).In 1912, Frampton was commissioned by J.M. Barrie to produce a sculpture of Barrie's beloved character Peter Pan, who had first appeared on the stage eight years earlier. Barrie saw the sculpture as a gift for the children of London, and took out an announcement in The Times on the morning of its instalment, reading: 'There is a surprise in store for the children who go to Kensington Gardens to feed the ducks in the Serpentine this morning ... a May-day gift by Mr J M Barrie, a figure of Peter Pan blowing his pipe on the stump of a tree.' Frampton died in 1928 and his son Meredith took over his studio. Two years later, a memorial to him was installed in St Paul's Cathedral, showing a child holding a miniature version of Frampton's beloved Peter Pan.John Henry Frederick Bacon, ARA (British, 1865-1914)The second son of the well-known lithographer, John Cardanall Bacon, John Henry Frederick Bacon established himself in his teenage years as a gifted black-and-white illustrator and undertook a professional tour of India and Burma. He studied at Westminster School of Art, under the painter and art teacher Frederick Brown (British, 1851-1941), and at the Royal Academy Schools, winning the Creswick Prize for Landscape Painting in 1888. A year later, he began to exhibit regularly at the Royal Academy of Art. He was elected an associate of the Royal Academy in 1903.Bacon and his wife lived at Pillar House, Harwell, Berkshire but returned to London in 1899, living in Hampstead before moving to St John's Wood. It was during the 1890s that Bacon moved back to illustrating, working on books and contributing to periodicals. Bacon contributed to some significant editions of the works of Charles Dickens, including Dombey and Son, Little Dorrit and Martin Chuzzlewit for Gresham's Imperial Edition of 1901.Bacon's images helped construct perceptions of nation and empire, as in his most famous paintings – The City of London Imperial Volunteers Return to London from South Africa (1900, Guildhall) and the Coronation Portrait of King George V and Queen Mary (1912, Buckingham Palace). He was awarded the Royal Victorian Order in 1913.It is very likely that Frampton and Bacon were close artistic colleagues and interacted regularly, perhaps especially when Bacon moved back to London. A sketch of Frampton by Bacon dating from 1901 (The Studio Volume 22, The Offices of the Studio Ltd. London 1901) confirms that the sculptor would have sat for the artist around this time. In addition verbal recollections and reminiscences passed down through the Bacon family to the present vendor confirm that members of the Royal Family frequently came for portrait sittings at the family's London home in the early 20th century. As such, given that the bust of St George was probably gifted to Bacon by Frampton, it seems most likely that Frampton and Bacon, with their multiple commissions for Royal monuments and Royal portraits, would have had much in common and may well have even have been close friends if their paths crossed regularly.For further information on this lot please visit Bonhams.com

Unbekannter Porträtist, 20. Jh.Mann mit Pfeife beim Studiums. Öl auf Leinwand, Leinwand weist kleinere Beschädigungen auf. Gerahmt, 78,5 x 68 cm (Ra), Rahmen benötigt Reinigung. unknown potraitist, man with pipe, oil on canvas, canvas with smaller wholes, framed.

Fred Yates (British, 1922-2008)Pipe, Paints and Paysage signed 'FRED YATES' (lower left), also repeatedly signed 'FRED YATES' (to curtain edges)oil on board125.5 x 69cm (49 7/16 x 27 3/16in).Footnotes:ProvenanceThe Estate of the ArtistFor further information on this lot please visit Bonhams.com

Collectables to include two Ronson lighters World War II binoculars Canada 6x30 military, a pipe rack and other itemsLocation:

A cased early 20th century Meerschaum and plastic pipe with amber coloured mouth-piece, Location:Cab2

An early 20th century Danish bronzed pipe rest formed as a bird by Just Andersen 4 1/4" long x 2 3/4" high

A 19th century bronze figure of a bacchanalian pipe player: wearing a lion skin whilst playing the pipes, on a circular naturalistic base covered with vine leaves and grapes, mounted on a wood plinth, unsigned, 38cm high, one pipe missing.

A quantity of watch parts and a pipe threading kit