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A collection of Wade Whisky & Spirit Decanters including Royal Salute, Chivas etc These were removed from the archives of the Wade factory and are possible prototypes or colour samples.

A collection of Wade Whisky & Spirit Decanters including Grand Old, Tribute, Hunting Scot, Chivas etc These were removed from the archives of the Wade factory and are possible prototypes or colour samples.

A collection of Wade Whisky & Spirit Decanters including Johnny Walker, Royal Salute, Six Towns Gin etc These were removed from the archives of the Wade factory and are possible prototypes or colour samples.

A collection of Wade Whisky & Spirit Decanters including Robyn Hoode, Tullamore, Perth Gin, Advertisng Ashtrays etc These were removed from the archives of the Wade factory and are possible prototypes or colour samples.

A mixed collection of items to include ceramic jewellery box (a/f) and contents, beswick spirit of affection, vintage white metal carriage clock etc (1 tray)

Beswick Spirit of Youth on wooden plinth

Kevin Francis / Peggy Davies Limited Edition figure Free Spirit (overpainted)

A mixed collection of items to include Local Interest Books including The Spirit of Leek vols 1-4, Calton is My Dwelling Place etc

Two crystal cut spirit decanters together with early 20th century Anaroid barometer

(Susa 1825 - Milano 1909 )Cm 24x32 | In 9.45x12.60Oil on panelA Piedmontese painter by origin but Milanese by adoption and Ligurian by frequentation, he studied at the Accademia Albertina in Turin, a pupil of Carlo Arienti and Carlo Felice Biserna. Here he was also a teacher, as assistant to Ernesto Gamba (1855 - 1860). In 1860 he moved with his wife, the painter Federica Gervasoni, to Milan, where he taught until 1883 at the Brera Academy as Raffaele Casnedi's adjunct. The departure was as a painter of history (Pandolfo and Lamberto Polentoni sentenced by his brother to die in the Crimea 1856), not even immune to Florentine experiences, derived from a youthful stay in Tuscan soil. However, not much was the gap between this painting and genre painting, which was always dear to the painter, see "Farewell of Hugh to Parisina," where the gap between the two genres is barely perceptible. He was also very attracted to landscape, indeed it is to speak of animated landscape, (The ford). He also practiced lithography and fresco (lost allegories for the Galleria Vittorio Emanuele in Milan, with Asia and Industry). He was much influenced by scapigliatura, although in a sense he was an "autonomous" in the Italian artistic scene, achieving, with delicate effects of chiaroscuro, always a firm compositional construction. He stayed in Liguria where he devoted himself mainly to marine painting. He participated in many exhibitions; in addition to the Turin and Milan exhibitions, he was in Florence (1861), Paris (1878), and the Venetian Biennales (1895 -1897). Defined by Somarè as a "painter by right of nature" (Somarè 1927) and traced by Giolli "in that stiffening and simplification of spirit that we already know from Fattori to Mario Puccini" (Giolli 1927), Bartolena shows, especially in the marines, that he places himself together with Lloyd, Ghiglia and Puccini in that vein of return to tradition, in the context of a recovery of the Factorian manner filtered through meditation on primitives. In addition to the Galleria d'arte moderna in Milan and the Pinacoteca di Brera, his works are in Trieste at the Rivoltella Museum, in Novara, Galleria d'arte moderna Gianoni, and in Turin, Galleria civica d'arte moderna. He died in Milan on April 12, 1909.

(Fucine (TN) 1851 - Cles (TN) 1923)Cm 62x100 | In 24.41x39.37Oil on canvasOn February 6, 1851, Bartolomeo Teofilo Ismaele Bezzi, son of Domenico Bezzi, a surveyor and great art lover, and Luigia Taraboi, was born in Fucine d'Ossana in Val di Sole. In 1862 he was orphaned by his father. He left Fucine to seek his fortune as a peddler. After a few years, in 1870, tired of that kind of life, thanks to savings and the help of a cousin and his uncle Don Ambrogio, a priest in Pellizzano in Val di Sole, he decided to enroll in the Brera Academy of Fine Arts. Here he became a pupil of Giuseppe Bertini and in the course of his studies he soon made a name for himself and, already in his second year, managed to obtain mentions and medals with his works. During these years he also frequented a group of young artists with a renewing and anti-academic spirit and took an active part in debates on French Impressionism. In 1876 he has his first exhibition at the annual group show prepared by the academy. He presents Landscape and Impression. The following year he exhibits At the Well and Val Solandra. Two years later, he gained recognition with his work Valle di Rabbi, which impressed the commission with its colors that succeeded in making even those sharp and steep alpine landscapes softer and softer. In 1879 he was forced to abandon his academic studies because of his poor health. But not even the illness prevented him from continuing his work as an artist, enjoying enormous success, heartened by his friends, admirers, collectors and art lovers. During these years he opened his own studio in Milan but spent several days in Trent, where he portrayed the city on a canvas of vast proportions. This is also a testimony to how Bartolomeo Bezzi remains affectively attached to Trentino. Recurring episodes will be in the capital city as well as in Val di Non and Val di Sole. In Turin he was present at the Fourth National Exhibition of Fine Arts with the works Sul Tonale, Una via di Trento, La vigna, and Una frana in Val d'Adige. In 1881 at the National Exhibition in Brera he exhibited Il mio paesello, Ricordo dei bagni, again Sul Tonale and Confidenze. At age thirty-one, in 1882, he won his first major prize in Milan: the Fumagalli Prize. A few months later he received 4,000 liras for the work Pescarenico, purchased by Prince Ruspoli. During these years he lived between Verona and Milan. During the Verona period he painted several landscape-related works and some of them were exhibited at the Esposizione di Belle Arti in Rome: Verona along the Adige, Un mattino a Verona, Pescarenico, Mulini sull'Adige and Giornata d'Autunno. Here he finds great success but, of all his paintings, the one that receives the most attention is: Mulini sull'Adige. The work Mulini a Verona was purchased by the National Gallery of Modern Art. In 1884 in Turin, at the Italian National Exhibition organized by the Società Promotrice di Belle Arti, he presented Venice, Roman Campagna, Autumn, Memories of Rome, Gray Weather in Venice, Evening. At the Brera exhibition he exhibited Bambocci, Sito alpestre and Acqua morta, purchased by Count Aldo Annoni of Milan. Shortly thereafter he became an honorary member of the Brera Academy. He exhibited Sulle rive dell'Adige, in Milan in 1885 and the following year at a group exhibition in Berlin and finally in Venice in 1887 where he was purchased by King Umberto. In 1886 he participated in the inaugural exhibition of the newly formed Society for Fine Arts and Permanent Exhibition in Milan with A Chioggia, Mulini a Verona, Paesaggio, Betulle and with the sketch Pescarenico. The following year he exhibited six works at the National Exhibition in Venice: Riva di Trento, Studio, Mestizia, Sulle rive dell'Adige, Paesaggio and Bosco ceduo, the latter painting, known as Bosco di birulle, in 1890 would be purchased for 500 florins by the Trento City Hall and placed in the city's Historical Museum. In 1888 at the Paris Exhibition he was awarded a prize for his work Falling Sun on Lake Garda, which would later be purchased by the Revoltella Museum in Trieste. The following year, he participated in an exhibition in Rome with Venezia che dorme, Armonie della sera, Raggio di luna and Amori dell'aria. He participated for the first time in the Universal Exhibition in Paris with Les bords d'un rivière. The same year he is named a Knight of the Order of St. Michael of Bavaria. He moved to Venice, where he lived on the Fondamenta delle Zattere, a neighborhood at the time frequented by many artists, poets and writers. Here he met realist and post-macchiaioli painters such as Guglielmo Ciardi, Luigi Nono, Silvio Rota, Alessandro Milesi and Mario de Maria. It was during this period, influenced by the Venetian artistic environment and especially by the works of Giacomo Favretto, that he abandoned, albeit briefly, landscape painting to devote himself to genre painting. Another important encounter is with the artist Pietro Fragiacomo and his fascinatingly luminous lagoon landscapes. In Venice, he lays the foundations of a project for an International Art Exhibition, which will materialize in the Biennale. Bezzi participated in all editions, from the first, in 1895, to that of 1914. Membership in the organizing committee enabled him to make numerous trips abroad, in 1897 to Scotland and England, in 1898 and 1901 to Germany, Austria and France, during which he came into contact with different international artistic languages. In 1891 he exhibited his work Spiaggia del Lido at the Brera Triennale in Milan. This painting is later awarded a silver medal at the 1893 Rome exhibition by the city's City Hall. In Munich he won the gold medal for the work Spring Night. In 1892 he went to Trent, where he was part of the jury to determine who should be entrusted with the creation of the monument to Dante in the square of the same name. Here he befriended Cesare Battisti and devoted himself to irredentist propaganda, participating in artistic events aimed at affirming the Italian character of Trentino. A few months later, during a visit to the home of Counts Cesarini Sforza in his homeland, he met Isabella Dal Lago of Cles and married her on September 26, 1892. The Ministry of Education awards him a gold medal for the painting Paesaggio trentino o Da Cles exhibited at the Turin exhibition. Three years later he was present at the first International Art Exhibition of the city of Venice with S. Michele all'Adige and Giorno di magro. In 1896 he participated in the Munich Secession Exhibition presenting the work Canal Grande in Venice. During this period he became acquainted with Secessionist floral art and Art Noveau however, he was not influenced by this vision of landscape softened by plant lines and decorative colors. Bezzi continued to cultivate a lyrical, twilight representation of nature that would characterize his production until about 1910. In 1897 he presented Prelude of the Evening at the Second Venice Biennale, and three years later he received a silver medal at the Universal Exhibition in Paris for the painting Day of the Skinny, executed in 1895. In 1899 he participated in the Third International Art Exhibition in Venice. At the 1901 Venice Biennale he presented the works, Autumn Vagueness, In the Evening and Night Calm. Two years later, at the Fifth Biennale: Morning on the Lake, Clear Night, The Trees, On the Shore of Lake Garda and First Snow. In 1905 his nervous illness began to worsen, but he still participated in the sixth Venice Biennale, presenting Fantasie dell'aria, Pescarenico and Acqua morta. Two years later his only solo art exhibition while alive is organized in Trent. In the same year he is in Turin with Notte di luna, in Venice with Sulle rive del Ticino, Mattino d'autunno, Tramonto and also travels abroad: to Buenos Aires, Montevideo and Valparaiso with the works Prima neve a Desenzano and Quiete del lago. In 1909 he participated in t [...]

(Venezia 1879 - Venezia 1933)Cm 28x37 | In 11.02x14.57Oil on panelA daughter of art, she was initiated at an early age into painting by her father, Guglielmo Ciardi, a protagonist with Favretto of the Venetian School of the Real and from 1894 holder of the chair of "Town and Sea Views" at the Venice Academy of Fine Arts. Together with his father and brother Beppe Ciardi they painted from life, as Guglielmo had learned at the Academy when, a pupil of Domenico Bresolin, he was brought by the master into the presence of nature. Emma Ciardi is a woman for the time in which she finds herself living, at the turn of the 19th and 20th centuries, outside the box. She lives the transition between the nineteenth and twentieth centuries in the midst of epochal revolutions that will transform the world, chooses to fit into the tradition of vedutismo that has its masters in Carlevarijs and Canaletto, and does so with a personal and unmistakable style. A constant presence at the Biennial (from 1903 to 1932, except for the 1926 edition), he travels, knows English and French, takes his Venetian parlar around the world, participates in all the most important national (Turin, Milan, Florence, Rome, Naples) and International (Munich, Barcelona, Paris, Buenos Aires, Pittsburgh, San Francisco) art festivals, holds his solo exhibitions in London (1910, 1913, 1928), Paris (1914), New York (1924), Brussels (1925), Chicago (1924), the most accredited gallery owners offer her their spaces to show her works in Milan, London, Paris, New York, collectors from all over Europe and America buy her paintings, newspapers speak of her as "among the most interesting and most personal painters, painters and not women painters because Ciardi is such an artist that she needs no such distinction." Not many women can make a profession out of their talent, Emma does and with an entrepreneurial spirit unheard of for a woman of the early twentieth century she marries her work. A true star of the time. Even D'Annunzio passing through Venice goes to visit her in her atelier where, without getting lost in "ciacole," she works. Thinking that a painter should express himself with his brushes and colors and not with words, she repeats, "Co le ciacole non si fanno i quadri." A woman of few words and a lot of work (as Ugo Ojetti wrote about her in the Corriere della Sera in 1909), she obtained in the first three decades of the twentieth century public and critical recognition and awards in Milan, Berlin, London, Paris, Brussels, New York, and San Francisco. An extremely fecund painter, her paintings are scattered all over the world, she works for an international clientele that from Venice to London and from New York to Buenos Aires requests her paintings. While Picasso initiated with Cubism a veritable revolution in the field of art by subverting the traditional way of viewing a painting and creating an obvious shock in the public, Futurism launched incendiary proclamations subverting tradition, Emma Ciardi entered the great vein of Venetian vedutista painting. She studies and loves Guardi and, like Cataletto does with the camera ottica, photographs the motifs that strike her or paints en plein air, like the Impressionists in parks and gardens of aristocratic mansions and then processes the impression in the studio. She writes, "I have made two studies, but the painting I have not yet found. These are tints that I will need to compose the paintings that always have to be invented," an obvious statement of poetics and operative practice. He chooses to portray the landscape, makes portraits of cities with which he becomes acquainted Florence, London, Paris, Basel, Bruges. Venice and ancient gardens populated by ancient ladies and knights are the great protagonists of her repertoire. In the gardens that make her famous, she starts from life, observes and fixes the landscape before her eyes then, in the studio, brings into the compositions a crowd of characters dressed in eighteenth-century fashions arranging them on the scene studied from life. They are not characters, actors (her models are wooden mannequins two span high that Emma herself drapes in eighteenth-century robes and tricorns), but pure semblances of light, conjured up to act out the fable of life. For Emma, the real is the base, the springboard to the dream. Her figures, luminous as if they were emanations of places, stand out chromatically on the meadows like gems set in green. Her light and bright painting is dense with matter; one has to look closely at her paintings to appreciate the rich, color-filled thickness of her painterly touch. He often uses white; every inch of painting is a chromatic feast, a feast for the eyes. In the last period of his existence he found new inspiration in Refrontolo, in the Treviso countryside, where he bought a house and retired to the quiet of the countryside to paint. Here, dormant whispers and rustles, idylls, dances and madrigals, vezzi and graces (words that often return in the titles of her works) it is nature that speaks in her paintings with grandiose simplicity. If at the time Emma's painting appealed without disturbing, even today her skillful craft, her minute, fractured brushwork, teeming with hues, fast, that she is able to evoke with the slightest touch of the brush a gondola, a parasol, a Pierrot's guitar, with a touch that is always sure, without retouching "i quadri va in malora se i xe titignai," sparkling knows how to fascinate and seduce. In the tamed landscapes, in the combed skies, in the radiant and poignant Venices, together with Emma we seek the beauty for which the human being of all times yearns. She died in Venice on November 16, 1933. In the Information Sheet handwritten by Emma in 1932, kept at the Historical Archives of Contemporary Arts in Venice, she states that her works have been acquired and are held in public collections in Vienna, New York, Munich, Barcelona, Brussels, Washington, Oran and Buenos Aires.

A large group of mixed scale diecast by LONE STAR, MATCHBOX, JOHNNY LIGHTNING, HOT WHEELS and DINKY, to include a MATCHBOX 'A View To A Kill' Renault 11 Taxi, a MATCHBOX FAB 1, MATCHBOX SUPERKINGS K161 Rolls-Royce Silver Spirit, 3 x LONE STAR Austin FX4 Taxis and a DINKY 241 Silver Jubilee Taxi - VG/E in G/VG boxes and cards (18)

A group of 1:24 scale diecast models by FRANKLIN MINT, comprising a 1955 Rolls-Royce Silver Cloud, 1910 Rolls-Royce Balloon Roadster and a 1995 Rolls-Royce Corniche IV- VG/E (Silver Cloud has had a repair to Spirit of Ecstasy, other two cars appear to be in excellent condition) in G/VG packaging with certificates (3)

A group of 1:24 scale diecast models by FRANKLIN MINT, comprising a 1921 Rolls-Royce Silver Ghost, a 1925 Rolls-Royce Silver Ghost and a 1911 Rolls-Royce Tourer - overall VG (1925 Silver Ghost is missing Spirit of Ecstasy and polystyrene has stuck to 1925 example) in G/VG packaging with certificates (3)

Set of three graduating 19th century brown salt glazed stoneware spirit barrels, decorated in relief with the royal coat of arms, lions and grape vines, largest 38.5cm tall

A brass spirit samovar 34cm tall

A Bassett-Lowke LMS Stanier 2-6-0 Mogul O gauge spirit fired live steam locomotive - boxed and unused

1980 Rolls-Royce Silver Shadow II Transmission: automaticMileage:5613The Rolls-Royce Silver Shadow II is the epitome of 1970's luxury motoring. The original Silver Shadow was released in 1965 and made way for the vastly improved Shadow II in 1977, which would stay in production until 1980. The Silver Shadow II was known for its silky-smooth ride and powerful V8 engine, which provided plenty of power for the car's substantial size. It also featured a number of advanced features for its time, such as a sophisticated self-levelling suspension system and an air conditioning system which could be operated independently for the driver and front passenger. The Shadow II also gained rack and pinion steering, which vastly improved the handling over its predecessor. The interior of the Silver Shadow II was of course the height of luxury, with the finest wood veneer and leather upholstery.This particular example is something of a time-warp, showing just 5,613 miles and having been cherished in present ownership since 1980. The car was purchased as a virtually brand new car, supplied by Lex Mead in Weybridge, allegedly a cancelled order due to the original purchaser opting for the newly released Silver Spirit instead. The car presents exceedingly well in white with a period correct vinyl roof and brown leather upholstery. For a 43 year old car, the condition is certainly impressive, with just a few minor paint blemishes, all commensurate with the age and originality of the car. The history file contains eight MoT test certificates ranging from 1983 to 2018, showing a steady increase in mileage over the time.A vast majority of the mileage was attained during the early part of the cars' life, a Rolls-Royce service stamp records a mileage of 5,179 miles in May 1986, the service sticker is still present inside the driver's door shut. Following that, we have MoT's in September 1986 at 5,216 miles, October 1988 at 5,269 miles and then March 2000 at 5,276 miles. We then arrive at an invoice dating from May 2005, for work at West Hoathly Rolls-Royce specialists, with an odometer reading of 5,380 miles. The work undertaken was a very thorough service and recommissioning process, which includes drive belts, the invoice totalling £3,233.66. The car was then MoT'd again in June 2011 with 5,490 miles and most recently, in November 2018 with 5,603 miles. The most recent service invoice was also in November 2018, again from West Hoathly, for work on a very thorough service and recommission, the invoice totalling £5,465.33.This Shadow II would be the perfect addition to any Rolls-Royce collection, it is likely one of the lowest mileage examples remaining and has been virtually a single owner car its whole life. Don't miss the opportunity to purchase a highly original, remarkably low mileage example of one of the greatest status symbols of the 1970's.

1984 Rolls-Royce Silver Spirit Transmission: automaticMileage:47487The Silver Spirit was unveiled in October 1980 as a replacement for the Rolls-Royce Silver Shadow. Direct comparison, however, showed only small differences. The new models had slightly grown in length and width; height had been cut a little, although the styling was more modern than that of its predecessor. The interior was dominated by the expected combination of fine wood and sumptuous leather. The Silver Spirit was similar mechanically to the Silver Shadow, benefiting from the superb Rolls-Royce 6,750cc, V8 and sharing many mechanical characteristics of the model it replaced. The instruments were supplemented by digital units which gave such information as the time, elapsed driving time and external temperature and were the first Rolls-Royce to be fitted with a retractable Spirit of Ecstasy.This impressive Rolls-Royce was ordered by franchised dealer Dutton-Forshaw as their demonstrator vehicle. It was registered by them in December 1984 and presents both stylishly and subtlety in special order Ice Green coachwork with a beige leather interior. This look is enhanced with contrasting carpets, gold coachlines and whitewall tyres. The car was purchased by its late owner in 2010. He was a dedicated car enthusiast and owned vehicles by some of the world's most famous marques including Aston Martin, Porsche and Maserati but we are informed that his favourite by far was this Rolls-Royce Silver Spirit which was used for 'high days and holidays'. We are also informed that during his tenure the servicing for the car was done in house at his company. The cars bodywork and interior trim are both in tremendous condition as is the woodwork which appears unmarked. The carpets are unworn, and the car is complemented with a full set of sheepskin over rugs and a complete and unused toolkit. The boot area is unmarked and the engine bay is extremely clean and tidy. This 'time warp' Rolls-Royce is offered to auction with an impressive file of paperwork which includes factory specification and build sheets, an original service book with 15 dealer stamps, an original owner's handbook pack, 28 previous MoT test certificates, a V5C registration document and a current MoT test certificate valid until February 2024. This car has only become available owing to the death of the owner and is offered without reserve.

1995 Rolls-Royce Silver Spirit III Transmission: automaticMileage:74000The Silver Spirit was unveiled in October 1980 as a replacement for the Rolls-Royce Silver Shadow. Direct comparison, however, showed only small differences. The new models had slightly grown in length and width; height had been cut a little, although the styling was more modern than that of its predecessor. The interior was dominated by the expected combination of fine wood and sumptuous leather.The Silver Spirit was similar mechanically to the Silver Shadow, benefiting from the superb Rolls-Royce 6,750cc, V8 and sharing many mechanical characteristics of the model it replaced. The instruments were supplemented by digital units which gave such information as the time, elapsed driving time and external temperature and were the first Rolls-Royces to be fitted with a retractable Spirit of Ecstasy.Originally registered on 7th April 1995 this delightful Silver Spirit III has had four previous keepers and presents exceptionally well in the colour combination of Royal Blue and Parchment interior. There were only 234 examples of the Spirit III and this example is offered for sale with the original book pack. There is a significant history folder and clearly this has been a well-cared for example. The interior is sumptuous with its ample burr walnut and leather. Fire up the V8 engine and this luxurious car comes into its own, a quiet, smooth ride is accompanied by respectful performance. Supplied with a V5C registration document and a current MoT test certificate valid until September 2023, this Rolls-Royce is offered for sale without reserve.Guide £10,000-£14,000

2000 Bentley Arnage Red Label Transmission: automaticMileage:82780Launched in 1998, the Arnage was manufactured in Crewe from 1998 to 2009 with its Rolls-Royce sibling, the Silver Seraph. They were the first entirely new designs for the two marques since 1980 when the Silver Spirit and Mulsanne models were introduced. The new Arnage (Green Label) was to be powered by a BMW V8 engine with Cosworth-engineered, twin-turbo chargers and the Seraph was to employ a BMW V12 engine. The Arnage Red Label was launched in October 1999 with the engine reverting back to Bentley power using the traditional V8 engine and a displacement of 6750cc. As part of the modification process, both Red and Green Label cars benefitted from expanded leg room in the cabin, stiffer bodyshells and larger wheels and brakes.First registered on 2nd October 2000 and supplied by Jack Barclay, this example had been in 'Bentley enthusiast' ownership for much of its life, currently taxes paid in the EU (Ireland). The history file for this Arnage contains bills and receipts for servicing, the most recent with specialist DEW services in the summer of 2022. Upon inspection the car requires recommissioning to the front suspension including replacement of the shock absorbers and rubbers and is currently displaying the applicable warning light on the dash. It is presented in one of the best colourways of Midnight Emerald with Magnolia Connolly leather hide interior and it also comes with two sets of keys. Presented to auction with an MoT test certificate valid until the end of July 2023, this 6.75 V8 litre Bentley will be subject to relevant UK import taxes and is sold on the bill of sale, there are no accompanying registration documents to go with this vehicle. This Bentley offers supreme luxury for a modest outlay but does require some TLC.Guide price £8,000- £12,000

1981 Rolls-Royce Silver Shadow II Transmission: automaticMileage:57056The Silver Shadow broke new ground for the Crewe Company in a number of key areas, from the sophisticated fully independent suspension with an advanced self-levelling system to four-wheel ventilated disc brakes. The only major components carried over from the Silver Cloud III were the excellent, all aluminium, 6.2 litre V8 and four-speed automatic transmission with fluid flywheel, the latter replaced by GM's excellent 400 three-speed box in October 1968 while the engine was enlarged to 6.75 litres the following year. Although no power output was ever divulged by the company, merely described as 'adequate', the Silver Shadow's superior aerodynamics meant the car was perfectly happy cruising the motorways. No less than eight individual Connolly hides were used to trim the interior of each car and the standard of finish on the upholstery, rich Wilton carpets and burr walnut veneers was impeccable. Each Silver Shadow employed 20 electric motors, powering everything from the radio antenna to adjusting the individual front seats. Build quality on the Silver Shadow remained unsurpassed, each taking no less than 12 weeks to build from start to finish.Originally supplied by Henlys in Chester on 7th August 1981, this Rolls-Royce presents in delightful condition and is finished in probably the best colour combination of Peacock Blue with Beige leather interior. A good history folder accompanies this Silver Shadow II, to be expected latterly by respected marque specialists. The engine runs well and we are advised this car drives with no known faults. The paintwork is in good order as is the interior; the front seats are fitted with headrests adding additional comfort for the driver and front passenger. These iconic Rolls-Royces are sublime to drive, offering comfort and luxury like no other car. This 1981 registered car is one of the last to be registered as the Silver Spirit was available from 1980. Supplied with a V5C registration document, together with the bookpack including the service book. Rolls-Royce Silver Shadow prices have been increasing significantly of late, and this is an ideal opportunity to obtain one of the last ones registered.

Two early 20th century cask measure sticks with brass fittings (1 a/f), 2 x 25mm and 1 x 50mm barrel spirit measures.

Spanish school. Aragon. 16th century.“Our Lady of Roncesvalles gives her heavenly sovereignty and strength to King Ferdinand I of Aragon, among his faithful followers and vassals, Mrs. Oliba and her husband, under the protection of their protectors, San Antonio Abad and San Blas” – originally "La Virgen de Roncesvalles entrega su soberanía celestial y fuerza al Rey Fernando I de Aragón, entre sus fieles seguidores y vasallos Dña. Oliba y su marido, bajo el amparo de sus protectores, San Antonio Abad y San Blas"Tempera and gold background on panel.136 x 182 cm.The altarpiece is made up of three panels. In the central one is Our Lady of Roncesvalles with the Child, surrounded by angel musicians, giving a fleur-de-lis to King Ferdinand I of Aragon, as identified by the mention "D'Antequera". The Virgin Mary "touches" the King with her strength and with the fleur de lis gives him the mission of sovereignty, loyalty, honour, purity and spirit. To the right and left, the donors, Lady Oliba, as the inscription says, and her husband, are both protected by their devotional saints. She is with Saint Anthony, and he is with Saint Blaise. It is interesting to note that it is the lady donor who is mentioned on the altarpiece, therefore, she must have been an important personage. The most important and special thing about this panel is that it is not for private worship. No doubt it is a gift from the donors to their King. Transmitting their fidelity to him as his vassals, wishing and praying for him, as is his patron Virgin Mary, that of Roncesvalles, who grants him all the strength to be a good sovereign, bathed in God and His strength. They tell their king that in this worthy task of being sovereign and lord of all these lands and of all of us, the Virgin Mary is the one who gives protection. The King is given preponderance, in the centre with the Virgin Mary, because he is offering his life to her, and with faith he is shown that she is going to give him the strength to manage the great task of reigning over his subjects. The original carved, gilded and polychromed wooden crest is preserved. At the bottom is the inscription: "Esta obra mando facer Ernan Gonçales de la Puerta en Onor e Reberencia de Nuestra Señora de Santa Maria de RocesVales e San Blas San Anton” (This painting was commissioned by Ernan Gonçales de la Puerta in honour and reverence to Our Lady of Roncesvalles, Saint Blaise and Saint Anthony).

Gil de Siloé (Antwerp, Belgium or Urliones, France?, circa 1467 - Burgos, 1505)"Saint Barbara"Carved, gilded and polychromed wooden sculpture.110 x 28 x 30 cm.This image bears a great resemblance to the polychromed limestone sculpture of the Virgin and Child, from the facade of the arch of Santa María la Mayor, in Burgos, and which is currently on display at the Burgos Museum. The similarity to the face is remarkable, being an almond-shaped oval, with a long, thin nose and a small mouth with an expression so characteristic of the sculptor. To this can be added the treatment of the hair, made up of long, wavy locks, loose on both sides of her face.The Saint is represented in a frontal position, standing with her right leg slightly forward, creating a contrapposto effect. Dressed in rich courtly clothing, she wears a dress in reddish tones tied with a fringed chord which falls to her feet forming folds reminiscent of Gothic folds. With a pronounced bosom, her white blouse peeks out and she is covered from shoulders to feet in a luxurious gold cloak with a blue interior. Saint Barbara gathers up the cloak with her right arm to pick it up, in one of the sculptor's graceful gestures.This sculpture gives a strong indication of Gil de Siloé's origin being Flemish, evident in the headdress that covers part of the saint's head, in her extremely delicate hands and in the sweet beauty of the face.Finally, the wonderful tower held in her left hand is remarkable and symbolizes Saint Barbara's attribute. In her other hand she would have held a palm, which is not preserved, symbolizing her martyrdom.The tower, according to tradition, consists of three windows "to remember the words of the Saint, according to whom the light had entered her through the three windows of the Father, the Son and the Holy Spirit", as indicated by Don Luis Monreal y Tejada in his Iconography of Christianity. In this tower she was locked up by her father, Dioscuros, to protect her from her suitors. Saint Barbara, who had previously baptized herself, fled from the tower and was therefore arrested, tried and sentenced to death. The miracle occurred when, before being beheaded, lightning struck, killing her tormentors.Saint Barbara, virgin and martyr, lived in Antioch in the middle of the 3rd century under the rule of Maximian.Gil de Siloé was a sculptor who was the greatest representative of Elizabethan Gothic, a style typical of the Crown of Castile which originated after the merging of Mudejar art and Flamboyant Gothic with Flemish influences. His origin remains uncertain: it seems likely that he was Flemish and the fact that he sometimes signed "Gil de Enberres" (Amberes being the Spanish for Antwerp) attests to this, but he also sometimes signed "Gil de Urliones" (possibly referring to Orleans) so a possible French origin remains on the table.Be that as it may, Burgos and his great artistic activity attracted him. He arrived there, as el Prado explains in its biography, with an already "defined sculptural language that he would maintain throughout his career and that is characterized by a detailed and meticulous technique that tends to cover all surfaces with decorative elements.” Despite having been called by the rich activity of Burgos, "he lived and worked in Burgos, in Castile, without his clients or the environment influencing him enough to make him change his art", affirms the professor of Art History from the University of Burgos, Dr. Alberto C. Ibáñez Pérez, in the article on Siloé from the Royal Academy of History.The great quality and renown of his work resulted in the creation of a sculptural focus in Burgos, which "radiated its activity and influence throughout the Castilian territory" from the end of the 15th century.Highlights of the artist's output include the altarpiece of the Tree of Jesse, the main altarpiece of the chapel of the Conception in Burgos Cathedral, made between 1483 and 1486, which is considered his first great work and was conceived "with the idea of uniting the three major arts in order to offer a message, in which reality presented with elegant detail served as visual support for the idea,” Ibáñez explains.Also remarkable is the tomb of the parents of Queen Isabel the Catholic, documented in 1486, and that of her brother, Prince Alfonso, both works commissioned by the Queen and sculpted in alabaster, for the Miraflores Charterhouse. The church also has a a Madonna and Child by Siloé, known as the Virgin of the Choir, practically identical to the one exhibited in the Museo del Prado (E000961).Reference bibliography:- Monreal y Tejada, Luis. (2000). “Iconografía del Cristianismo”. El Acantilado.- Ibáñez Pérez, Alberto C. (s.f.). “Gil Siloe”. Real Academia de la Historia. https://dbe.rah.es/biografias/14526/gil-siloe- Museo del Prado. (s.f.). “Siloé, Gil de”. https://www.museodelprado.es/aprende/enciclopedia/voz/siloe-gil-de/fa1e7ddb-348a-4871-8f36-18363eb8e102

Five various silver spirit labels, includes a cast vine leaf bearing the motto "Madeira" combined silver weight: 61g

A late 19th century three piece continental white metal tea service - bearing purity and maker's marks for Josef Carl Klinkosch (1822-1888), comprising of a kettle with stand and spirit burner, a teapot and milk jug, with ivory handles, weight 1,850g. License number: J4VMJ5PQ

A coopered oak spirit barrel, 35.5cm high, with brass tap.

A Jaeger LeCoultre Atmos clock, the glass and brass case with green enamel highlights and corner columns, enclosing the gilt brass movement and white enamelled dial with Roman numerals and large balance wheel with spirit level below, raised on a green veined marble base, the 13-jewel movement numbered 540, with original instructions booklet 24cm high x 21cm wide.

T. Pitt of Frome - West Country 18th century George III mahogany cased mercury wall barometer. Signed T Pitt - Frome. Silvered register with steel indicating hand and brass recording hand, spirit thermometer, hygrometer, butlers mirror and spirit bubble. All under swan neck pediment top

A collection of assorted Whisky, Cognac and other spirit miniatures. The lot to include Macallan 10years old, Remy Martin VSOP, Bell's Whisky, Absolut Vodka, Amrut single malt whisky, Old Pultney, Echantillon de Coconut, Dolfi, Hemmes, Gonzalez Byass Shery, France Rocher, & many more. (1 box)

A Cased Victorian Silver Christening-Set, The Mug by Frazer and Haws, London, 1893, The Spoon, Knife and Fork by Francis Higgins, London, 1880 and 1882, the mug engraved with a name, the other pieces engraved with initials, in fitted case, the knife handle filled, gross weight 9oz 15dwt, 303gr; Together With a silver plate mounted glass and leather spirit-flask

An Edward VII Silver Spirit-Flask, by Marples and Beasley, Birmingham, 1909, curved oblong, engraved with initials, with bayonet-mounted domed cover, 10.7cm high, 2oz 13dwt, 83gr

A Collection of Assorted Silver, comprising a two-handled cup and cover, 11.5cm high; a circular dish with shaped rim; a goblet, engraved with an inscription, 11.5cm high; a tapering cylindrical mug; a Kiddish cup; a two-handled bowl, engraved with an inscription and with a blue glass liner; the bowl from a toddy-ladle and a candlestick, filled, weighable silver 13oz 5dwt, 413gr; Together With a pewter spirit-flask engraved after Charles Rennie Mackintosh (qty)

A Wickes 450W tile cutting saw with original box and instructions, a Hitachi Koki P20SA planer with box and instructions, a boxed Performance 570W jigsaw with instructions, a boxed Powerfix Laser PLW670 spirit level and tripod and a boxed Parkside PEBH 1010 hammer drill

Four albums of vintage Wine, Champagne, Sherry and spirit labels

Yiannis Tsarouchis (Greek, 1910-1989)Evzone et famille signé en grec et daté '36' (en haut à gauche)technique mixte sur toile61.5 x 41.5cm (24 3/16 x 16 5/16in).Peint en 1936.signed in Greek and dated (upper left) mixed media on canvasFootnotes:ProvenanceAcquired directly from the artist by Beatrice Spiliadis and thence be descent to the present owner.'Tsarouchis's art perfectly captures the tenderness of life combined with hieratic solemnity, gallantry, and dignified yearning.'B. Spiliadis, Eleftherotypia magazine, July 4, 1982.Acquired directly from the artist by prominent art critic Beatrice Spiliadis (1939-1986) in the 1980s, Evzone et famille conveys a striking immediacy and resilient allure. Radically simplified in design and colour, the painting draws stylistic elements from Matisse, Theofilos, Parthenis, and traditional shadow puppet theatre to create a serene world of pure form. Reviewing the artist's work from the mid-1930s, art critic A. Xydis noted: 'In 1934 Tsarouchis stopped working with Kontoglou to follow his own path. His fascination with colour and texture, and, perhaps, his predilection towards the decorative drew him to Matisse.'1 Indeed, the picture's broad, overlapping planes of colour, shallow compositional structure and sweeping brushstrokes recall the teachings of the great French master.The composition is dominated by the commanding presence of a standing young male in the traditional fustanella kilt, tenderly and reassuringly resting his left hand on the frail shoulder of his diminutive wife, whose silent inflexibility and rigid, almost hieratic posture alludes to Mother and Child depictions on Byzantine icons. As noted by former Benaki Museum Director M. Hadjidakis, Tsarouchis's human subjects tend to become monumental figures elevated to a symbolic type full of dignity and grandeur.2 What's truly amazing is that Tsarouchis imaginatively combined various representational conventions to transform a simple peasant family into everlasting symbols, capturing the genuineness of character which is the lifeblood of the Modern Greek spirit.3 Ever since his early childhood, Tsarouchis was fascinated by traditional local costumes from around Greece, enchanted by the variety of vibrant colours and bold schemes exhibited in the velvet and silk garments and headdresses worn by the peasant women he saw in Athens each time he visited the city's centre with his mother. Beyond childhood memories, however, Tsarouchis's great interest in traditional local dresses stemmed from his dual capacity as painter and costume designer, a fascination that was further heightened following his acquaintance with Angeliki Hadjimichali, Elli Papadimitriou and Eva Palmer-Sikelianou.4 1 A. Xydis, 'Tsarouchis's Contribution in the Discovery of Greek Tradition' [in Greek], Zygos magazine, no 72-75, November 1961-February 1962, p. 9.2 M. Hadjidakis, 'Some Aspects of Modern Greek Art' in Perspective of Greece, an Atlantic Monthly Supplement, Intercultural Publications, New York 1955, p. 33.3 See D. Kapetanakis, 'Yannis Tsarouchis, Return to Roots' [in Greek], Nea Grammata magazine, 1937. 4 M. Karavia, The Thinker of Marousi, Memories and Conversations with Yannis Tsarouchis [in Greek], Kapon editions Athens 2009, p. 74.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

Georgios Bouzianis (Greek, 1885-1959)Femme assise aux cheveux rouges signé 'Busianis' (en haut à droite); signé 'Busianis' (au revers)huile sur toile129 x 52.5cm (50 13/16 x 20 11/16in).Peint vers 1950.signed (upper right); signed (on the reverse) oil on canvasFootnotes:ProvenanceThe Artist's Estate.ExpositionsAthens, Exhibition Hall of the Parnassos Literary Society, Exhibition of Works by G. Bouzianis 1883-1959, May 28 - June 15, 1960, no. 21 (possibly).LiteratureZygos magazine, no. 10, August 1956, p. 10 (illustrated).Eikones magazine, no. 243, June 17, 1960, p. 23 (shown in a photograph of the artist's home studio).Zygos magazine, no. I-65, February 1965, p. 11 (illustrated).Zygos magazine, no. 37, September-October 1979, p. 26 (shown in a photograph of the artist's home studio).Bouzianis Watercolours, Agra editions - The Friends of Bouzianis', Athens 1982, p. 114 (shown in a photograph of the artist's home studio).Giorgos Bouzianis, Letters to H. Barchfeld, National bank of Greece Cultural Foundation, Athens 1989, fig. 33 (shown in a photograph of the artist's home studio).Commemorative Exhibition of Works by Giorgos Bouzianis, exhibition catalogue, Municipality of Daphni, 1993 (shown in two photographs of the artist's home studio).D. Deliyannis, Giorgos Bouzianis 1885-1959, Adam editions, Athens 1996, no. 195, p. 31 (shown in a photograph with the artist's wife in his home studio, c. 1959), p. 291 (catalogued), 141 (illustrated).For over 60 years, this remarkable recent discovery by Bonhams has been accessible to scholarly research only though black and white photographs of the artist's Athens home studio taken circa 1959.A magnificent painting, whose large-scale format and signature style make it a quintessential Bouzianis from the 1950s, Seated woman with red hair fills the surface of the painting with her corporeal presence and statuesque calm, generating tension between bodily volume and pictorial space in the vein of Picasso's classic period in the 1920s. As keenly noted by Y. Tsarouchis, 'there is something classical in the works of Bouzianis, because for a Greek the classical is a natural state of mind.'1 Elaborating on this remark, Y. Psychopedis notes: 'Though he had assimilated the radical extremities of expressionism, Bouzianis transformed their pronounced gothic metaphysics to a discourse regarding the living human subject. His figures are tied to reality; they are not alienated as formless matter neither lose their identity becoming abstract, archetypal forms or nightmarish masks... His work emanates a nostalgia for the classical, a nostalgia for a lost and constantly sought balance.'2 In a 1960 article published in London's Studio magazine, art critic C. Spencer noted that 'in his draughtsmanship and handling of form Bouzianis reveals his German inheritance. His colours, however, are entirely non-Teutonic. They sing their lovely gay hues, and it is a Mediterranean, Grecian song, full of sun and golden light. There is also a less easily defined pathos in the colour, for all its glowing beauty. In this mingling of joy and sadness, of sensuality, of movement and form, Bouzianis is a richly rewarding and complex artistic personality.'3 Emerging from a shimmering ground of greens, greys, and blues Seated woman with red hair becomes both a reflection of the sitter's inner life and the artist's intense response to the subject. Treated in a frank and direct manner and rendered explicitly in all its glory, the female figure—one of Bouzianis's favourite subjects after 1926—reflects the artist's firm belief that art should be a vehicle for emotional states rather than a process of beautification. Leaving clear traces of a vigorous painting process, the picture pulsates with strong feeling and crackling energy, yet is continuously subordinated to aesthetic demands and disciplined by artistic intelligence. This inexhaustible vitality and incessant pulsating rhythm animate every part of the canvas, making it look like a vibrating star bathed in its own light.4A master of psychological interpretation and a true visionary, Bouzianis is an artist of international calibre. Being part of the interwar European avant-garde, he transcended the sterile academic tenets with an art of emotional and physical immediacy, seeking, as Oscar Kokoschka once said, to render the vision of people being alive.1 Y. Tsarouchis, preface to Bouzianis Watercolours [in Greek], Agra editions -The Friends of Bouzianis, Athens 1982, p. 12. 2 Y. Psychopedis, 'The Militant Introversion, Expressive Lyricism and Critical Spirit in the Work of Bouzianis' [in Greek] in Nostos, Kedros editions, Athens 2009, pp. 228-229. 3C.S. Spencer, 'George Bousianis', Studio magazine, London, vol. 159, no. 806, June 1960, p. 206.4 See G. Mourelos, 'Bouzianis's Technique' [in Greek], Kathimerini newspaper, Epta Imeres, October 27, 1996, p. 28.For further information on this lot please visit Bonhams.com

1981 Rolls Royce Silver Spirit 6750cc 4 door saloon Guide; £3,000 - £4,000 Registration: NRD794 Chassis: SCAZS0000ACH01426 Odometer: 102,277 Transmission: Auto MOT: Exempt • Bills amounting to £7274 from 2017 for mechanical works  • Only 2 former keepers • Supplied with the private registration number NRD 794 • Original Blaupunkt Frankfurt audio system Outside  The original colour paint of metallic gold presents well overall with no visible signs of corrosion or damage though there are various minor imperfections as would be expected of a car of this age. The chrome work is in good order as are the wheels. Inside  The interior is typically Rolls-Royce with sumptuous leather, quality wood and chrome work. The leather would benefit from a deep clean and feed but is in good order although the drivers central arrest has a very small tear which could be repaired, the carpets are original and are good apart from the driver’s heel pad area which is worn heavily; though a set of lambswool over mats would solve that issue. The electric front seats are fully operational as are all the ancillaries and gauges. Mechanicals  The engine fires into life instantly and quickly settles down to a smooth idle with a pleasing burble from the twin exhausts. There is good oil pressure and a healthy charge showing on the ammeter, It is worth noting that there is a rattle from the exhaust which would indicate that a mounting bracket may need adjusting. On the road the Rolls drives as it should with good brakes, suspension, steering and smooth gear changes. There was a significant amount of work carried out in 2017 to the brakes and steering which would explain why it drives so well. History  Being registered on 5th February 1981, the Spirit is a very early car having been launched in late 1980. Our vehicle check indicates that the first owner kept the car for 29 years until 2000.  There is very little paperwork with the car apart from a V5C and the invoices from 2017. Our Opinion  This Rolls is in good order overall with all the usual expense to the brakes and suspension being done in 2017. With a really good deep clean and some minor cosmetics, this car will become a superb classic for very little outlay.    

Two cut glass table lamps, a vase with gilt rim, and a spirit decanter, with initials C N F-N, the decanter 54cm highQty: 4All in good condition, the lamps in need of re-wiring

A FINE DUNHILL ELECTROPLATED COCKTAIL SET FOR SIX PEOPLEEnglish, 1920s, With pigskin case with strap and handle to lid, opening to reveal interior fitted with central electro-plate silver 1-pint cocktail shaker by James Dixon & Sons with strainer and cap, marked Dunhill to base and numbered, and containing set of six stacking drinking beakers and correct glass bitters jar, surrounded by set of three matched electro-plate silver curved 7oz spirit flasks with screw caps, also by James Dixon & Sons, the case 20cm high overall, the rarer six-person version of the set produced by Dunhill, loses to leather closing strap, height 20cm.For further information on this lot please visit Bonhams.com

A set of three Bristol green glass spirit decanters and stoppers, early 19th century, of mallet form with flattened lozenge stoppers, gilt with labels inscribed Hollands, Rum and Brandy, height 24cm, together with a similar pair of Bristol blue glass decanters and stoppers with triple ringed necks, and a larger pair of cut glass Bristol blue decanters and stoppers, height 31cm (minor faults). Provenance: the property of Michael Godfrey.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A WMF plated spirit kettle & stand with burner, 9in tall

A treen map wheel measure, a similar cased brass spirit level, a wine bottle stand, a measure & two metal toy figures

A quantity of silver plated spirit kettles , 1 missing burner, t/w 4 silver plated teapots and a hot water jug and a spirit burner.

Copper spirit kettle on stand with burner, pint measure, t/w assorted tankards, chocolate pots etc, all in good used condition.

George V silver spirit kettle on stand (lacking burner) by Harrison Brothers & Howson (George Howson), Sheffield 1927, 874g gross, 27cm tall.

A Chinese oval mother of pearl inlaid hardwood tray, 19th century, inlaid with a central peony and butterfly within a border of flowers, bamboo and prunus branches with birds and butterflies, the outer border with gourds and vines, 25 x 16½in. (63.5 x 41.9cm.). * Condition: The base of the tray has warped and has become convex over time - the mother of pearl inlay is lifting just very slightly in a couple of places, but none has sprung or missing. A few spirit stains to one side of the tray amd

Collection of nineteenth century coloured glass spirit flagons and bottles, to include pair of 19th century dark brown glass flagons of slightly flat sided bulbous shape with applied handle and white metal collars, 7in. (17.8cm.) high; matched pair of 19th century flagons,one in dark amber glass, the other amethyst glass, of compressed side shape, with loop handle and silver plated mounts to neck and cork stopper, pontils to base; green glass flagon and a onion bottle (6), together with comical stoppers.

A SET OF AVERY WHITE ENAMEL SCALES TO WEIGH AND PRICE UP TO 5LB, THE LOZENGE SHAPED ALUMINIUM PAN REMOVABLE ABOVE A SPIRIT LEVEL

Tub of nails, box of dry wall screws 3.9 mm x 55 mm, two spirit levels

Canterburiensis. 'The Life and Extraordinary Adventures of Sir William Courtenay'. 'Knight of Malta. Alias John Nichols Tom, Formerly Spirit Merchant and Maltster of Truro in Cornwall,' engraved illustrations, 482 pages, 8vo, original boards, front board partly loose, biography of a famous imposter who was killed at the Battle of Bossenden the last battle to have been fought on English soil, James Hunt, Canterbury, 1838.

Kadhim Hayder (Iraq, 1932-1985)Al Qamar oil on canvas, framedsigned 'K HAIDAR' and dated '1966' on the stretcher, executed in 1966104 x 134cm (40 15/16 x 52 3/4in).Footnotes:Al-QamarA monumental 1966 composition from Kadhim Hayder's Epic of the Martyr series formerly in the collection of the Iraqi Ambassador to Lebanon H.E Nathir Umari'The Hour has drawn near, and the moon was split in two.' Surah Al-Qamar'The horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom'- Kadhim Hayder'The exhibition of The Epic of the Martyr took place in circumstances that were politically and culturally complicated; it turned the idea of martyrdom into a modern symbol that cried out in tragedy apart from any religious interpretation.'- Dia al-AzzawiProvenance:Property from the collection of H.E Nathir Umari, Iraqi Ambassador to Lebanon (1963-1966), acquired directly from the artist, circa 1966, thence by descent Exhibited:Kadhim Hayder, Gallery One, Beirut, 1966 This monumental painting from Kadhim Hayder's Martyrs Epic series is a powerful depiction of the climax of the cycle, the moment of Imam Hussein's death. Painted in 1966, 'Al Qamar' (The Moon) is a poignant and emotionally charged work that showcases the artist's masterful use of religious allegory and cultural mythology.The painting comes to market with an impressive provenance, having belonged to Nathir Umari, a prominent Iraqi diplomat who served amongst other postings as ambassador to Lebanon, the United States, and France throughout the 1960's. Umari was also a senior representative for Iraq at the United Nations. The painting was acquired by Umari in Beirut during his ambassadorshipThe title of the painting, 'Al Qamar' (The Moon), has significant symbolic meaning in Islamic culture and literature. The moon is mentioned numerous times in the Quran, and is often used as a metaphor for the light of God, purity, and guidance. In this painting, the red moon serves as a symbol both of mourning and of the light that Imam Hussein brought to the world through his sacrifice.What makes this painting particularly special is that it was not originally part of the Martyrs Epic series, but was painted a year after the exhibition. It shows the artist's fondness for this particular scene, and his desire to explore it further. In this respect 'Al Qamar' shares a striking similarity ot the painting from the series that is now in the Barjeel Art Foundation, which adds to its significance and rarity.This remarkable painting is a testament to Kadhim Hayder's importance in the history of Iraqi art, and his enduring legacy as an artist who captured the essence of one of the most important events in Islamic history..Saleem Al Bahloly: The Epic of the Martyr:'Haidar began working on the series in 1963 shortly after returning from London where he had studied printmaking and stage-design at the Royal College of Art. On the one hand, the paintings were a continuation of the interests of artists in the 1950s: in the inspiration Haidar found in popular culture and in his adoption of certain pictorial devices from ancient Assyrian sculpture to modern art (associated with the Baghdad Group for Modern Art) as well as in his concern with political struggles for justice (associated with the Pioneers art group). On the other hand, however, Haidar opened a new horizon for the practice of art by structuring the paintings around an act of symbolism.The paintings are composed of horses and warriors, wielding spears and swords and bearing banners and shields, that are positioned on a flat, mythical landscape. This imagery was drawn from the annual taʿziya celebrations that mourn the martyrdom of al-Husayn and other members of the Prophet's family in a stand-off with the Umayyad army in 680 AD; in particular, the imagery is taken from the processions in which a pageant of costumed figures representing characters from the battle fought on the 'plain' west of the Euphrates parade through the street accompanying poets who narrate in a vernacular tradition of verse the injustice suffered by the Prophet's family.In the paintings, this imagery has been reconstructed according to a variety of devices inspired by a range of sources: the bodies of the horses and figures are turned toward the viewer, as if they are appearing on a stage or in an ancient frieze depicting a historic battle; a sense of performance is carried into the image by the intense expressivity of their gestures which seem to dissolve anatomical features and the outline of shapes in a fervour of emotion; the limbs of human and animal bodies alike are often multiplied (an influence of Assyrian sculptural reliefs that Haider almost certainly saw at the British Museum in London) and tapered (a form of modelling inspired by the sculpture of Henry Moore).The reconstructed imagery is arranged in the paintings not to narrate a historical event but to elaborate a concept of the martyr that emerged out of that event—a hero who by his death in a struggle for truth paradoxically triumphs. Haidar developed this concept of the martyr in painting by focusing on the symbolic relation between the fallen martyr and his horse. As he explained to the newspaper al-Jumhuriyya in 1965: 'the horse represents the knight, keeping with the popular belief that the horse carries the spirit of the knight after his martyrdom.' That symbolism is present in the mourning processions where al-Husayn is represented by a riderless white horse; but it has its roots in a legend that, when al-Husayn's horse saw his beheaded corpse, it circled around his body, rubbed its head in his blood, let out a ferocious whine and killed forty men.The paintings in The Epic of the Martyr were different sizes [they] reflect, as Dia al-ʿAzzawi has written, Haidar's desire to collapse the distinction between gallery and street, and between art and ritual, by reproducing the atmosphere of the folk celebration inside the museum. To that end, for the exhibition in 1965, Haidar composed a poem in which each line corresponded to a painting in the series, in this way reproducing the coupling of pageant and poetry in the mourning processions.This attempt to go beyond the conventional materials of painting, in order to use the artwork to stage an experience that is not only visual but also emotive, makes The Epic of the Martyr one of the earliest pieces of contemporary art in the Middle East.'Saleem Al-Bahloly received a PhD from the University of California, Berkeley, and has held fellowships at Johns Hopkins and the University of California, Santa Barbara. He is writing a book about an intellectual shift that occurred in Iraq during the 1960s in response to disillusionment with left-wing politics. The above text has been abridged.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

An Equinoctial Sundial By T. W. Watson , English, c.1860, engraved to the dial 'T. W. Watson 4 Pall Mall, London' and the same to the inside of the case lid, the dial on 3 adjustable screw feet, with silvered compass dial with locking steel needle, 2 spirit levels, folding scale engraved 'North Lats' and 'South Lats' in a leather covered fitted case

Surgery, Amputation and Cautery, a fine 19th century surgical chain saw, carbon steel saw, with handles in ebony and bright polished nickel silver, saw with handles 45cm long; with a 19th century cautery set, carbon steel cautery with ebony handle, nickel plated spirit lamp signed 'MAW LONDON', in velvet and silk lined fitted case covered in black Morocco leather, case 10cm across

Standard Working Petrol Check Pump Measure, English, c. 1930, engraved 'BOROUGH OF ACCRINGTON', to the front and engraved at the rear 'DE GRAVE SHORT Co Ltd, LONDON, constructed of copper with brass bindings and brass handles and brass spirit level, with sight glass to rear with an engraved scale, measure engraved 1/2GALLON, in a fitted polished oak case with carry handles. Footnote: Standard working measures were specially made to be used by the weights and measures department to calibrate any of the inspector's measures that were to be taken out on site. They were used to calibrate the check pump measures taken out by Customs officers.

Five various bottles of spirit and liqueur. (5)

GLENDRONACH CASK STRENGTH BATCH #6 HIGHLAND SINGLE MALT Thanks to its rich, weighty spirit and penchant for sherry cask maturation, GlenDronach is often viewed as an excellent (and affordable) alternative to Macallan, despite being just on the wrong side of the Speyside / Highland border.Once providing the heart of the Teacher’s blend, in recent years GlenDronach has become better known as a single malt thanks to substantial investment by Pernod Ricard, who acquired ownership in 2008, and more recently by Brown-Forman (producers of Jack Daniel’s) who took over in 2016.56.1% ABV / 70cl

ARRAN SHERRY CASK FINISH ISLAND SINGLE MALT Still a relative youngster in whisky terms, Arran distillery began production in 1995. Thanks to a focus on sourcing quality casks, and its light, accessible spirit that ages well, Arran has proven extremely successful. So much so, that in 2017 they began construction of a second distillery on the other side of the island. Sharing a name with Arran’s only other previous legal still (closed in 1837), Lagg distillery focuses on producing peated spirit.46% ABV / 70cl