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Tom Gibbons (20th Century) Ballarina and Pipe Player signed, dated 45, watercolour, 45cm x 60cm

A pair of terracotta sculptures of fisher folk, the man wearing sou`wester with pipe, both with baskets at their feet, bases incised Pecheur, 30cm (12in) high

A good collection of silver items, to include three Edwardian silver capstand inkwells; a silver cigarette case; a four piece silver backed brush set and another brush; a Victorian pierced bon bon dish, 2 silver ashtrays; a silver pipe smokers penknife; a further quantity of silver cruets and napkin rings etc. (a lot)

A selection of miscellaneous including door knocker modelled as fish, AA badge, meershaum pipe etc

J. Seymour Adams (fl. 1883-1888) - Oil painting - "A Quiet Moment" - Interior scene with a Cavalier seated at a table with a glass of wine and smoking a pipe, canvas 14ins x 10ins, signed in full and dated 1882, in gilt moulded frame (frame somewhat damaged)

Nineteenth century Meerschaum pipe, Edwardian silver plated belt, nurses buckle, chatelaine clip and lot costume jewellery

Early Victorian Naval Officer`s sword with brass Gothic hilt, lion`s head pommel and fish skin grip, etched pipe back blade by C Webb, 23 Old Bond Street, London, in original brass mounted leather scabbard, 91 cm overall

Late Victorian ebony and bone dominoes in original mahogany box; together with the Conway Stewart Dinkie pen, a Baronite ceramic pipe made in Holland, an oriental designed thermometer, 9" high (4).

A Meerschaum pipe decorated with dogs, together with a selection of kid leather gloves.

DINKY 893 Unic pipe line transporter - French issue. Good boxed.

A cased 19th Century meerschaum pipe modelled as a snipe with glass set eyes and elongated amber mouthpiece, length 13cm, S.D. ILLUSTRATED.

Bone open pipe case with brass and bamboo pipe depicting Ashinaga, Meiji, 20cm

A Meerschaum pipe, the bowl carved with a bearded male head wearing a fez, cased.

A Newlyn copper, two section pipe rack, the back plate decorated with two fish, a shell and seaweed, impressed marker`s mark and owners initials J.W. Height 4 1/2 ins.

A Meerschaum pipe bowl, well carved with the head of a lion, cased. (See illustration)

BURLIUK, DAVID 1882-1967 Composition with a Pipe signed and dated 1910 Oil on board, 25.5 by 30.5 cm. Provenance: Family of the artist. ABA Gallery, New York. Private collection, UK. Literature: Russian Futurism, The State Russian Museum, 2000, p. 212, illustrated.

* § TSELKOV, OLEG B. 1934 Smoker signed, titled in Cyrillic and dated 1969 on the reverse Oil on canvas, laid on panel, 100 by 152.5 cm. Provenance: Acquired directly from the artist by the present owner. Private collection, USA. Authenticity has been confirmed by the artist. Literature: Oleg Tselkov, Le Grandi Monographie, Turin, Fabbri Editori, 1988, p. 67, illustrated. Roger Pierre Turine, Oleg Tselkov, Bonfi, Moscow, 2002, p. 33, illustrated. Related literature: For similar works, see Roger Pierre Turine, Oleg Tselkov, Bonfi, Moscow, 2002. The image of the “pipe smoker” became one of the most important in Tselkov’s creative oeuvre during the second half of the 1960s. Evolving from the still life of 1964, in which a grey, large-toothed face, two long smoking pipes and a burning candle form the traditional vanitas composition, evocative of the “nature morte” of African totems and of ancient Latin American art, to the self portrait of 1969, and the suite which is made up of several impressive compositions of the same name, the image of “the smoker” grows, not only in relation to scale, but also in terms of meaning. This represents one of the allusions, which can occasionally be found in Tselkov’s works, to classical museum art - “the smokers”, a popular subject for painters, beginning with the Dutch and Flemish school of the 17th century, and continuing up to the time of Cezanne and Gris that became the darlings of the 20th century. Yet, Tselkov’s smoking monsters are merely a fragment of a classical painting, the spatial and compositional structure of which, containing references to well known iconographic motifs and traditional subjects, is merely a trick, a theatrical effect, designed to emphasise the alien nature of Tselkov’s world. Before us we do not see real people, whether in the form of a self-portrait of the artist or a canvas presented at the auction, but a world of simulacrums, in which genuine existence is wholly impossible. There is, therefore, no visible distinction between the genuine and the surrogate, nor is there any real difference between the mask and the face. The large toothed and toothless “Tselkov mugs”, which have been painted in the traditional palette of various shades of red, apathetically and, for no apparent reason, inhale and exhale clouds of grey and violet smoke. This smoke has poisoned everything that surrounds them: the yellow featureless towns and the spatial dimensions of life, squeezed into a frame and suspended by a nail. At the same time, Tselkov’s works contain no hint of the pathos of a Soviet poster calling for the battle for a better world; rather, what is at issue here is the metaphysical death of modern man and his urban world, in which, to use the words of the artist himself, no trace of “the face of god” remains. A student of the legendary theatre designer Nikolai Akimov, from his early days Tselkov was fascinated by experimenting with the “Jack of Diamonds” style of painting. However, the artist’s present-day fame has come about thanks to his so called “ugly mugs”: his bright, almost surrealistic canvases depicting round-headed creatures, which resemble humans with flabby bodies, blank eyes and large, glossy mask-like faces. Painted in bright, sparkling colours, usually against a black background, these “poster-like” garish images became a popular symbol in the West, as early as the 1970s, of the Soviet artistic underground: a caricature, in a sense, of Homo Soveticus. Tselkov himself stated that “I painted a portrait, so to speak; not a portrait of any individual subject, but, rather, a universal portrait of every human being, synthesised into one face, and one which is horribly familiar… This face is the face of modern humanity as a whole. I did not set myself the task of ‘ripping off the mask’: rather, I saw neither ‘good’ nor ‘bad’, but something which was more real, more than skin-deep. And it is what we all are under the skin that brings all of us closer together. I cannot make any specific accusations against any particular person, but I am making more than a specific accusation against the large numbers of people who degrade one another, torment one another, and do away with one another. I am entitled to make such charges in relation to the past, the present and the future …” Tselkov was forced to leave for the West in 1977, where his work was compared to that of Fernand Leger, Francis Bacon and Fernando Botero, and occasionally to the later work of Kazimir Malevitch. As a result of Dovlatov’s famous story, the artist himself became a semi-mythical hero of underground art. Since that time, Tselkov’s works have found their way into museum collections on both sides of the Atlantic; as well as into public and private collections in Russia, the United States, France and Japan. Solo exhibitions of his work have been held in the Russian Museum and the Tretyakov Gallery, and the value of the artist’s works has risen in proportion to the increasing size of the paintings, which between the 1980s and 1990s, reached truly gigantic, mural-like dimensions.

A Lladro porcelain figure, "Tall Sea Captain with Pipe", 14 1/2" high

A composition head of a Victorian sailor, "Players Medium Navy Cut", and one other with stove pipe hat

A meerschaum Turk`s head pipe bowl, a "Sherlock Holmes" pipe and three other pipes

Group of items to include a boxed Meerschaum pipe, Chinese carved wooden card case, Mauchline ware spectacles case, and two ivory cups

An early 20th century leather cased large Meerschaum pipe,

Hartley Colliery Medal 1862, a die struck silver medal, 51mm, obverse: an angel looks on as two miners dig to uncover their comrades from the rubble; reverse inscription in raised letters, Presented to those who risked their own lives in attempting to save the lives of their fellow workmen buried in Hartley Colliery, January 1862, the edge inscribed, Richard Johnston, fitted with claw and straight silver bar suspension, crimson ribbon and silver buckle brooch, in J. S. Wyon, London case of issue, obverse with die flaw, nearly extremely fine (lot) £1400-1800 On 10 January 1862 disaster struck at the New Hartley Colliery in Northumberland, leaving in its wake a death toll of some 202 miners. A cage carrying eight people proved too much weight for the massive pumping engine beam which, although weighing over 40 tons, gave way and tumbled down the shaft, carrying with it a mass of machinery and debris. Much of it came to rest a little over 400 feet from the surface on the immense oak beams which held the centre set of pumps in the shaft. The unwalled sides of the shaft collapsed, piling tons of rock and rubble on top of the initial fall, sealing the shaft. It took six days of dangerous and strenuous work by the rescuers to reach the men trapped by the fall, but all were found to be dead. One of the dead, by the name of James Armour, kept notes of the ordeal in a book whilst trapped underground. These notes were referred to in the official enquiry into the case It appears to be certain from the date of the entry in the book found on the person of the overman, Armour, that all had died not later than the afternoon of the day following the accident, having fallen victims of the noxious gasses generated in the pit. Subsequent to the disaster there were many expressions of opinion in favour of some reward being made to the sinkers and others, who had so nobly risked their lives in their ill-fated attempts to rescue the entombed miners. In accordance with this widely expressed desire a special fund was instituted under the direction of a Committee with Mr T. G. Hurst as its secretary. At the outset it was determined that the testimonial should assume the form of a medal, and ultimately, Mr Wyon, of the Mint, whose designs had been approved by the committee, was engaged to execute the dies and strike the medals. A total of 1 gold and thirty seven silver medals were awarded. For his services, Richard Johnston was awarded a medal in silver, together with the sum of ú17. The amount of money paid was a reflection of the amount of time their assistance was given; ú30 being the highest and ú4 the lowest. With a copied extract from the Seaby Coin & Medal Bulletin of March 1983 which relates to the medal. The medal and case set in a glass-fronted wooden case, 430 x 225mm. (approx.), together with a clay pipe and leather pit tokens (2) recovered from a dead miner, and a tooth from a pit pony killed in the disaster.

PAIR OF LATE 19TH CENTURY ITALIAN SCHOOL OILS ON CANVAS "PORTRAIT OF PEASANT WITH PIPE & STAFFED COMPANION" 14.5" X 19"

OAK FRAMED SMOKERS CABINET WITH TWO CARVED BLIND PANEL DOORS OPENS TO ENCLOSE A FITTED INTERIOR OF TWO DRAWERS AND PIPE RACK ETC 13"

An Edwardian oak smokers cabinet, with claw carved Meerschaum pipe, tobacco jar and pouch.

A George V Vesta Case engraved initials, Birmingham 1919 with Chain and an Edward VII Pipe Tamper, etc, Birmingham 1909

Pair of Prattware Plates printed seascape and landscape, one A/F, a cranberry glass large Pipe, A/F and three stemmed Wines

Pair of continental porcelain figures of Boy and Girl on shaped circular bases, another of Lady seated holding flower and small figure of Boy playing pipe

A USSR Model Giraffe, Bear, brown Horse, another Calf with bucket and Dog and Pipe

ART NOUVEAU TUDRIC PEWTER PIPE HOLDER 5.5" HIGH

AMBER AND CARVED MEERSCHAM INDIAN HEAD PIPE IN CASE

A glass frigger, late 18th/early 19th Century, the wrythen moulded bowl on a long, twisted pipe like stem.

A late 19th Century French meerschaum pipe, carved with a galloping horse, cased.

An Eastern 16-bore flintlock holster pistol with sighted part octagonal swamped barrel and rounded banana shaped lock, full stocked with steel furniture (defective, some restoration, ramrod pipe and ramrod missing, barrel drilled and tapped at muzzle of two securing screws).

Two Japanese Kutani porcelain vases and covers, Meiji period, each ovoid body painted with the seven gods of good fortune, together with a pair of Japanese ivory sectional candlesticks, carved in relief with figures (one with faults), a famille rose bowl and a cloisonné opium pipe.

G. Pugi. A Late 19th/Early 20th Century Marble Group depicting three cherubs holding a pipe, scripture, and a tambourine and resting upon a naturalistic base. Signed on the reverse. Measuring 20 ins (50 cms) in height, 19 ins (49 cms) in width, 8 ins (20 cms) in depth.

R. Devane. A Signed Oil on Canvas depicting two young boys in landscape; one sat playing a pipe; the other laid before of him listening, 21½ ins x 35½ins (55 cms x 90 cms). Mounted in a glazed gilt frame ornamented with crested leaves and flowers 34 ins x 42 ins (87 cms x 122 cms).

3 Various Meerschaum Pipes and a small quantity of various other wooden pipes, with mahogany pipe rack having 1 long drawer to front

A Chinese enamelled pipe

Three silver napkin rings, a pipe, a/f and a cased cheroot holder, etc.

An Eastern pipe

A ruby frigger, in the form of a pipe, 19" long

George Douglas (late 19th/early 20th Century), portrait of a Cavalier, half length depicted smoking a clay pipe, signed and dated 1889, 19 1/4" x 13 1/2", gilt frame

19th Century Ralph Wood type pottery toby jug wearing a blue jacket, seated on a chair, a jug of ale in his hand and a pipe at his feet, 25.5cm high.

A Meerschaum pipe in the form of a devil riding on the back of running monk, the bowl formed as a barrel, with amber mouthpiece, together with its fitted case with gilt title `Meerschaum Bernstein Garantiert Echt` 3.5in (9cm) long.

Manner of David Teniers II. A boer smoking a pipe, Oil on canvas, 34cm x 29cm Visit www.dnfa.com for condition reports

A MEERSCHAUM PIPE with carved initials with leather case, a pair of safety folding scissors, further scissors, a silver thimble and other items in a leather box.

A COLLECTION OF FOURTEEN NOVELTY VESTAS in the form of horseshoes, animals and others, plus a pipe tamper (15).

SIR GEORGE HAYTER (1792-1871) - Figure sketch, a cavalier, dog and seated figure smoking a pipe, pen and ink, 5" square, framed (see illustration).

RAFFAELE FRIGERIO (b. 1875) - A fisherman lighting his pipe, signed, oils on canvas, 15" x 10".

Victorian pipe tamper and cleaner, Birmingham 1899; together with a silver mounted and steel cigar cutter, Birmingham 1953 (2)

Good 19th century Chinese School - elderly man sat at a table with an attendant lighting his pipe, and lady sat at a table with an attendant maid, watercolour and body colour, pair, both 17.5" x 12.5" (2)

Various items, comprising meerschaum pipe, approx. 130mm, head of a lady for bowl, amber mouthpiece with silver bezel, in original fitted case, Japanese paper & bamboo fan, quite soiled, `Mischief` perfume in top hat by Saville, in card hat box, small glass perfume bottle with brass flip-top lid, pin cushion on wooden screw fitting, small leather clip, books of matches from churches (2) & an Elizabeth II Coronation medal, boxed (9)

An early 19th century mahogany cupboard, the two-panelled doors with applied painted dummy boards, representing a lady peeling an apple and a gentleman smoking a pipe, over two panelled doors enclosing four drawers 159cm wide 55cm deep 217cm high

CIID - Pen and ink caricature study of a man smoking a pipe on horseback, leading another horse, 13.5 x 18.5 cm

A 19th century German Meerschaum pipe carved with a bearded man, on turned wood and amber glass stem

A Meerschaum cheroot pipe, carved with a galloping highwayman (lacks stem), to/w a Victorian brass desk-lamp stand (2)

Edwardian oak smoker`s cabinet with galleried top, two doors enclosing pipe rack and two drawers and cigar drawer below, 35cm

Victorian painted oar decorated with University Arms converted to pipe rack, 87 cm