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A large massive piece of Goonbarrow pit tin ore. 17.5cm x 12cm x 8cm.This large collection of Cornish tin ingots and mining artefacts is from the collection of Neil Mercer.  Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy medieval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves;' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'.For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website https://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com 

A scarce diamond tin specimen, from Killifrith Wood Mine, Cornwall. 8.5cm x 9cm x 5cm (irregular). This large collection of Cornish tin ingots and mining artefacts is from the collection of Neil Mercer.  Mercer has collaborated with the photographer and designer Peter Russell to produce ‘The Spirit Of Dartmoor Tin’, a large format, lavishly illustrated, limited edition artists publication due late 2022 / early 2023.  Most of these items are featured in, and formed part of the research for the publication which contributes to, and records, the tin working history of Cornwall and Dartmoor and is the culmination of fourteen years of research and practical tin working. The Spirit Of Dartmoor Tin: a one-time limited edition of 300 copies, sequentially numbered and signed by the authors, within a slipcase, with the copy medieval seal of the Devon Stannary in tin metal smelted during the project from historic and modern tin and inset into the case. Foreword by the landscape archaeologist Dr Tom Greeves;' ... this is a book of magic, passion and beauty, captured essentially through stunning visual images. I heartily commend it to everyone, but in particular to those for whom Dartmoor is a special and elemental place, rich in human messages'.For further information about ‘The Spirit Of Dartmoor Tin’ and to order a copy, visit their website https://www.spiritofdartmoortin.com/ or email: info@spiritofdartmoortin.com 

Six Royal Doulton miniature size character jugs including The Angel, Elf, Dick Turpin, etc. - sold with two small size character jugs comprising Mr Pickwick and The Master and two Royal Doulton spirit jugs, Falstaff and The Poacher

A pair of cut glass spirit decanters

An old copper spirit kettle with embossed floral decoration, set on brass stand - sold with a copper and brass brush with ship form finial

A Victorian silver plated spirit kettle of canted oblong design, set on a stand with central reservoir, burner and quadruple legs with scroll feet - finish worn

Four pieces of silver plate, spirit kettle, teapot etc

Bottle of Jameson's Irish Whiskey (1 litre) and bottle of Kentucky Spirit (70 cl)

A COLLECTION OF CERAMICS TO INCLUDE A BESWICK SPIRIT OF THE WIND HORSE, A PAIR OF VASES AND A THIMBLE COLLECTION

THREE PRESENTATION MEDALLIONS AWARDED TO LALAGE BOWN CONSISTING OF THE ACU SYMONS AWARD 2001, SPIRIT OF LEARNING MEDAL AND INTERNATIONAL PUBLISHERS ASSOCIATION MEDAL (3)

A 19th Century four chamber spirit decanter of footed ovoid form with tapered neck rising to four stoppered neck, height 29cm.

A collection of 19th Century leather mounted Martingales mounted with studs and horse brasses, a brass pestle and mortar, a wooden spirit barrel and a brass desk calendar. (qty)

A collection of silver plate, including various cutlery, a spirit kettle with stand, silver plated coffee spoons with coffee bean finials and other silver plate items. H.31cm

John Anster Fitzgerald (1832-1906) Crows and Fairies,  signed lower left, ‘J. A. Fitzgerald’ In this wonderfully imaginative watercolour, John Anster Fitzgerald depicts a flock of black crows being teased by fairies and sprites. A fantasy frog dances in front of one bird, while a winged goblin flutters above another discomfited crow. Other birds are being danced upon, and put to flight by the ferocious winged sprites. Painted with verve and spirit, this battle between sprites and birds is characteristic of an artist who was dubbed ‘Fairy Fitzgerald’. The painter of these fantastic and hallucinatory images of birds, sprites and fairies, John Anster Fitzgerald was born in London in 1832 (although some accounts give his date of birth as 1819). The son of the poet William Thomas Fitzgerald, his grandfather was Irish, and there is a strong resonance of Irish folk beliefs evident in his work. As an artist he seems to have been largely self-taught, but became celebrated for elaborate and highly-coloured paintings such as The Death of the Fairy Queen, Cock Robin defending his nest, The Chase of the White Mouse and The Fairy’s Barque, He was also famous for his illustration work, and the late 1850’s his drawings of fairies were reproduced in the Christmas edition of the Illustrated London News. Fitzgerald exhibited regularly at the Royal Academy, and also showed at the Royal Watercolour Society. The last painting he exhibited at the RA was a depiction of Alice in Wonderland. In 1849, he married Mary Ann Barr and they had at least six children. He was a long-time member of the Langham Sketching Club, founded in 1838, but left in 1898 to join the Savage Club. In receipt of a pension from the Royal Academy, Fitzgerald died in 1906.

Royal Doulton 'Spirit of the Wind' horse model, Coalport Classic Elegance 'A Special Gift', Royal Worcester Annabel, Golden Age Charlotte etc in one box

Blue sleeved glass vase, claret jug with plated cover, pair of square glass spirit decanters, another and a claret jug (6)

A PAIR OF EMPIRE BRONZE AND GILT METAL FIGURAL TWIN-LIGHT CANDELABRA EARLY 19TH CENTURY The stems modelled as Cupids 47cm high, 16cm wideProvenance: Christie's, Interiors - Style & Spirit, 13th March 2012, Lot 355. Condition Report: Marks, knocks, scratches, abrasions consistent with age and useDirt and discolouration to the gilt metal elements, rubbing and wear and general unevenness to the surfaces, some pitting, some signs of verdigris, some uneven wear to the bronze surface, wax and deposits to the sconces from useSome looseness to the jointsOne cornucopia to the plinths has a pin to support, this appears to be a later repair, the other has a differing pinPlease refer to additional images for visual reference to conditionCondition Report Disclaimer

AFTER THE ANTIQUE- A BRONZE MODEL OF THE BORGHESE GLADIATOR PROBABLY FRENCH, 19TH CENTURY 25cm high, the base 17cm wide, 9cm deep Provenance: Christie's, Interiors - Style & Spirit, 27th September 2011, Lot 313.

A PAIR OF FRENCH BRONZE PORTRAIT BUSTS OF NAPOLEON AND ROBESPIERRE 19TH CENTURY On Carrara marble plinths each 34cm high, the bases 11.5 x 11.5cm Provenance: Christie's, Interiors - Style & Spirit, 10th June 2014, Lot 252.

A brass Cassen & Plath sextant, with wooden handles in fitted case, 27cm wide, and a cased spirit level ruler. (2)

Book of Hours. Illuminated Manuscript on vellum, [probably Tours, c. 1470], 104 leaves: 16, 2-88, 94, 10-148, apparently complete, modern pagination 1-208, followed here, 17 lines written in a gothic book hand in brown ink between 2 verticals and 17 horizontals ruled in violet, justification 99 x 65 mm, rubrics in red, two-line initials of burnished gold on divided grounds of pink and blue patterned with white, capitals alternately in blue and gold, and blue and gold line-fillers, 5 large miniatures with arched tops above three-line initials with fruit- or flower-sprays in the infill and accompanied by full-page borders of acanthus, flower and fruit sprays in gold, blue, green, red and pink interspersed with hair-line sprays with gold disks and leaves, one historiated and 7 foliate illuminated initials, four-lines high, with two-sided borders of similar type (slight smudging, some borders a little trimmed, a few small losses of surface pigment to miniatures on pp. 41, 129), page size 167 x 113 mm, gilt-gauffered edges, recent gilt-panelled red-brown morocco, the panels of gilt fleurons with fleur-de-lys cornerpieces, single gilt fillet line border, gilt family crest of the Turbutt family (embowed arm holding a trident)to centre of upper cover, spine gilt in five compartments, 8vo, modern cloth chemise in a purpose-made morocco-backed book box with gilt-titled spine and two button fasteners, overall 20.5 x 16 cmQTY: (1)NOTE:Content: Calendar pp. 1-24; Obsecro te pp. 25-31; Gospel extracts pp. 31-40; St John pp. 31-33; St Luke pp. 34-36; St Matthew pp. 37-39; St Mark pp. 39-40; Office of the Virgin pp. 41-124, matins pp. 41-59, lauds pp. 60-76; from lauds interspersed with the Hours of the Cross pp. 77-78 and the Hours of the Holy Spirit pp. 79-80; Office of the Virgin pp. 81-124, prime pp. 81-89, terce pp. 90-95, sext pp. 96-101, none pp. 101-106, vespers pp. 107-117, compline pp. 118-124; blank ruled leaves pp. 125-128; Penitential Psalms pp. 129-149; Litany pp. 150-158; blank ruled leaf p. 160; Office of the Dead pp. 161-208.Illumination: The style of these miniatures is not instantly localisable: the decorative gilding of fabrics is evocative of Rouen illumination, while the compositions, such as King David kneeling before an altar in an interior, are familiar from Parisian manuscripts. One individual and remarkable feature of the illustration is the depiction of an emotional response in the couple facing Death -- both react with open-mouthed horror in a way rarely attempted in 15th-century illumination. The subjects of the miniatures are as follows: Annunciation p. 41; Crucifixion p. 77; Pentecost p. 79; David kneeling in prayer p. 129; Death taking a man, watched by the man's wife p. 161.A historiated initial with the Virgin and child in half-length on page 25.Provenance: 1. Both the Office of the Virgin and the Office of the Dead are for the use of Tours, whether or not the manuscript was made in that city it is likely to have been intended for use in that diocese.2. Johan. C. Jackson, 1853; inscription on opening folio of the Calendar. [Rev. J. C. Jackson, fl. 1861-1867: marchand-amateur and vendor of items acquired by the British Museum.]3. William Robert Hay MA [1761-1839, British barrister, cleric, magistrate, collector]: his armorial bookplate (loose) inside upper cover.4. Christie's, London, 16 November 2005, lot 23: purchased (and rebound) by the Turbutt family.

[Acton, John]. An Essay on Shooting, Containing the various methods of forging, boring, and dredging gun barrels, 2nd edition, London: T. Cadell, 1791, half-title, early manuscript notes to verso of final leaf, contemporary marbled calf, gilt decorated spine with red morocco title label, neatly repaired at head & foot of spine, upper joint lightly cracked, 8vo,[Pigott, Charles], The Jockey Club, or a Sketch of the Manners of the Age, 3 parts in one, mixed editions (10th, 6th & 2nd), London: H.D. Symonds, 1792, half-title to parts 1 & 2, contemporary red half morocco, 8vo,Sporting Magazine, The Sporting Magazine or Monthly Calendar of the Transactions of the Turf and Chase and every other diversion interesting to the man of pleasure, enterprise & spirit, volumes 13-18 & 20-24 (new series), London: J. Pittman [& M.A. Pittman], 1824-29, together 11 volumes, engraved titles and numerous plates, occasional light scattered spotting, original cloth-backed boards, some wear to joints and extremities, 8vo, plus The Sporting Review..., edited by 'Craven', London: Rudolph Ackermann, 1839, engraved title and plates, scattered spotting, contemporary half calf, lacking spine, 8voQTY: (14)

Bewick (Thomas). A General History of Quadrupeds, 4th edition, Newcastle Upon Tyne: printed for S. Hodgson..., 1800, numerous engraved illustrations some light toning throughout, later half calf rebound retaining contemporary gilt decorated calf spine, spine rubbed with some loss, 8voA History of British Birds, 2 volumes, Newcastle: printed by Edward Walker, 1821, numerous engraved illustrations, some light toning & spotting throughout, bookplates to the front pastedowns, rebound retaining contemporary half calf boards, slightly rubbed, 8vo, together with:Rossetti (Christina G.), Poems, new edition, London: Macmillan And Co., 1896, engraved frontispiece, minor marginal toning, all edges gilt, contemporary ornately gilt decorated brown morocco, spine & hinges lightly rubbed, 8vo, plusVan Dyke (Henry), The Spirit of Christmas, New York: Charles Scribner's Sons, 1903, monochrome frontispiece, later inscription to the front endpaper, some light toning, contemporary gilt decorated half calf bound by the publisher, spine slightly rubbed with small loss to the head, 8vo, and other mostly 19th-century literature & reference, all leather bindings, mostly gilt decorated, overall condition is generally fair/good, 8voApproximately 100 volumesQTY: (3 shelves )

Royal. A pair of English glass spirit decanters and stoppers, possibly James Powell & Sons' Whitefriars Glassworks, dated Xmas 1880, engraved with the cypher and badge of the Prince of Wales, later King Edward VII, faceted neck and stopper, 24cm h Provenance: Traditionally believed to have been a gift from the Prince of Wales to Sir Philip Cunliffe Owen KCB, KCMG, CIE, FRSA (1828-1894), Director of the South Kensington Museum, 1857-93 Good condition

A pair of George III cut glass spirit decanters and stoppers, other later decanters and claret jugs first square with canted corners, facet cut shoulders, scallop edged pouring necks and faceted knop stoppers, together with a regency spirit decanter cut with diamonds, a Victorian cranberry claret jug with clear ropetwist handle and stopper, a green claret jug and a vine etched decanter, (6)height 21 cmCondition:Mostly fair condition commensurate with age. Light bloom to interior of one pouring decanter same decanter has a chip to rim and repair to lip

Two pairs of French cut glass and gilt spirit decanters,late 19th / early 20th century, the first in the manner of Baccarat of shaped facetted form, the other pair in clear glass and gilt, decorated to body with floral motif, together with two oil bottles, one decorated in gilt with floral motifs, the other with engraved decoration, (6)the first height 19cm Condition: Overall the condition of the pieces is good. Small area of wear to the base edge of one of the less decorated pair of decanters. One very small chip to one corner base edge of one of the striped decanters. Please note that the decanter to the right of the image, is not included in the lot.

A set of six silver spirit totsmarked sterlingof plain tapering design, interiors gilt (6)height 4cm., weight approx. 4.94oztCondition:Some rubbing to gilt interiors of tots

A George II shell fancy back tablespoon and a collection of silver to include a sugar caster, a spirit measure, a hand mirror, two mustard pots, assorted spoons and a George III Old Sheffield plate hexagonal tea caddyfirst London, 1756, makers mark I ?, Hanoverian pattern, initialled CC, together with an ogee baluster form sugar with foliate scroll embossed decoration and bayonet fitting domed cover,Birmingham, 1898 by Henry Matthews, a spirit measure Chester, 1907 by George Nash & Ridley Hayes, a wrythen fluted hand mirror, two mustard pots with blue glass liners, two pepper casters, A Victorian fiddle pattern caddy spoon with engraved handle, six matched teaspoons, etc., (qty)First length 19.2 cm., weighable silver 16.85 ozt. Condition:Fancy back spoon with slight buckle to bowl, old solder repiar to bowl by handle joint. Some bleeding to lid of caddy. Dutch Windmill spoon lacking sails

A George V silver kettle on stand with burner in 18th century style Birmingham, 1929 by Adie Brothersthe plain bullet shaped kettle with scroll handle with fruitwood hand piece and flush hinged cover with wooden knop finial, engraved with decorative band, on circular stand with two securing pins raised on scroll legs with scroll feet, fitted with a silver spirit reservoir with plated burner fittingheight 33.5 cm., weight approx. 53.76 ozt Condition:Two knocks to side of kettle stand in good condition. Kettle, stand and burner reserve all marked with conforming marks. Stand in good condition but one pin is slightly bent. Some rubbing to plated burner fitting.

A VICTORIAN FIVE-PIECE SILVER AND PLATED TEA AND COFFEE SET AND A PAIR OF SILVER NAPKIN HOLDERS (7)The three silver pieces comprising; a teapot, a twin handled sugar bowl and a milk jug, Sheffield 1867, combined weight 1437 gms, together with a matching plated coffee pot and plated spirit kettle with stand and burner, each piece of urn shaped form and having engraved decoration, also a pair of silver napkin holders, Birmingham 1930, weight 73 gms, with a caseIvory Certificate no EMD7M6J1

A SILVER MOUNTED GLASS SPIRIT FLASK AND FIVE FURTHER ITEMS OF SILVER (6)The glass spirit flask, having a pull-off beaker base, London 1904, a rectangular hinge lidded box, Birmingham 1910, a circular powder compact, Birmingham 1918, a book matches case, a teaspoon and a ladle, London 1808, combined gross weight of weighable silver including the compact 201 gms

A SILVER FOUR PIECE TEA AND COFFEE SET (4)Comprising; a teapot, a coffee jug with a silver stand and plated spirit burner, a twin handled sugar bowl and a milk jug, each with partly fluted decoration, the two larger pieces with replacement wooden handles, the teapot have a fluted ivory finial, London 1815, maker William Burwash, combined gross weight 2430 gmsIvory Licence number 5UB3FHCH

TWO DUTCH REPOUSSE BRASS JARDINIERES (4)19th Century Both with twin lion mask ring handles, the largest 44cm wide, the smaller 27cm wide; Together with a brass kettle on pierced spirit stand with ebonised turned handles, 43cm high; and an Italian Renaissance style copper bucket, 28cm highCondition report: Various old dents, wear, knocks and some repairs in areas. The larger jardiniere with dents and wear to the sides, including a solder repaired hole. The liner is very worn through - as can be seen in the extra images.  Feet slight lightly dented and not fully resting flat on the surface. General wear. The smaller example possibly with a replaced base, feet look to have been resoldered. Various holes to the sides with solder repair. No liner. The other pieces with general light wear,  inevitable scuffs, scratches, dents, small chips and marks commensurate with wear, use and age.

English School (19th/early 20th century)Man is a Spirit, Spriritualism Triumphant! End of Sectarian Differences 20th Century, an allegorical girl stands atop the mountain, lighting the ruins of the fallen templeinscribed, oil on canvas, 87cm x 112.5cmNote: The banners held by the onlooking figures appear to be inscribed with eminent names from the Spiritualist Movement in Britain and America, with 'Eglinton' referring to William Eglinton (1857 - 1933) and 'Fox' to the Fox Sisters of Rochester, New York.

The Spirit of Britannia - A concise historical view of the British people told through the changes to Britannia on our coinage by Stuart Binns. Autographed by Rt. Hon. Danial Finch Hatton

An EPNS spirit kettle and stand, of globular form, with embossed scrolling foliate decoration and a turned wooden handle and finial Condition Report:Available upon request

VINYL LP RECORDS a good box of rock and prog rock LP records with R.E.M, The Who, Led Zeppelin, Ian Dury, The Doors, Hawkwind, King Crimson, The Nice, The Velvet Underground, Black Sabbath, Emerson Lake and Palmer, Steely Dan, Spirit, SAHB The Sensational Alex Harvey Band, Lou Reed, Neil Young, The Beatles, Pink Floyd, Yes etc (50) Condition Report:Available upon request

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled (still life with glasses in Cadaqués)", Suite Cadaqués B-1, ca. 1967.Oil on canvas.Signed on the back.Work referenced in the online catalogue raisonné of the Associació Joan Ponç, cat. no. 1490.With Joan Prats Gallery label on the back.Measurements: 116 x 81 cm.In this canvas Joan Ponç offers us a still life with glasses painted during his time in Cadaqués, a town in Empordà where he spent some years of his life and where he coincided with such illustrious neighbours as Salvador Dalí, Modest Cuixart and Antoni Tàpies.A painter and draughtsman, he trained in Barcelona, in the studio of Ramón Rogent and at the Academy of Plastic Arts with Ángel López-Obrero. After devoting himself to painting and drawing in anonymity, he held his first individual exhibition in 1946 at the Galería Arte in Bilbao, which was to be his definitive establishment on the national art scene. In 1948, together with Tharrats, Puig, Cuixart, Tàpies and Brossa, among others, he founded the avant-garde group Dau al Set. Selected by Eugenio D'Ors, he took part in the Salón de los Once in Madrid in 1951 and 1952. In 1952 he took part in the Hispano-American Biennial, and the following year he spent some time in Paris, where he met Joan Miró and managed to exhibit at the Musée de la Villa. On the latter's recommendation, Ponç gained access to Brazilian artistic circles, settling in São Paulo from 1953 to 1962. In 1954, the year of the dissolution of Dau al Set, he held an exhibition at the city's Museum of Modern Art, which was so successful that the organisation acquired all his works. In Brazil he visited the equatorial jungles, where he was impressed by their fauna, especially insects, which he incorporated into his imagery. In 1955 he founded the Taüll group with Marc Aleu, Modest Cuixart, Jaume Guinovart, Jaume Muxart, Mercadé, Tàpies and Tharrats. After returning to Catalonia due to illness, as a fully established artist he shows his work in New York, Rio de Janeiro, Bonn, Paris, Frankfurt, Geneva, Antibes and various Spanish cities. In 1965 he won the International Grand Prize for Drawing at the São Paulo Biennial. Ponç's paintings present phantasmagoric images that are both painful and tortured, in which the subconscious is the protagonist. For the painter, art is nothing more than an introduction to the mystery and secrets of the spirit. More of a draughtsman than a painter, his work is extremely detailed and meticulous. Ponç's production can be divided into six periods: the Dau al Set period (1947), the Brazilian period (1958), the metaphysical-geometric period (1969), the period of the metaphysical characters (1970), the acupainting period (1971) and a final period of synthesis (1972). He is currently represented at the Museo de Arte Contemporáneo de la Universidad de São Paulo, the Museo Patio Herreriano in Valladolid, the MACBA in Barcelona, the Centro-Museo Vasco de Arte Contemporáneo in Vitoria, the Museo de L'Empordà and the Museo Nacional Centro de Arte Reina Sofía.

A CHINESE GILT-WOOD ANCESTRAL ALTAR TABLET OF NURHACI FIRST HALF 19TH CENTURY The rectangular tablet raised on a plinth, inscribed with Nurhaci's temple name and posthumous title, Taizu Emperor Chengtian Guangyun Shengde Shengong Zhaoji Liji Renxiao Ruiwu Duanyi Qin'an Hongwen Dingye Gao, in Chinese and Manchurian, 67.5cm. Provenance: from the collection of G R A Murray and thence by descent. Exhibited: National Gallery of South Africa, Cape Town, Chinese Exhibition, 1953, no.239. Ancestral tablets are a home for the spirit of a deceased person after burial. They are kept in a family temple for the living to worship and make offerings to the spirits. Posthumous names can be regarded as respectful names given to the notable royalty and strictly follow a fixed format. By the Jiaqing reign, Nurhaci's posthumous title was twenty-four characters long, since then it was decided that the titles were standardised and would not be further lengthened. We would like to thank Dr Lars Laamann of SOAS University for his help in dating this lot.

René Romero Schuler Embeya, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   René Romero Schuler is an American painter and sculptor whose work is directly connected to her strong belief in the power of femininity and the stories women have to tell. Embracing the contrast between perceptions of femininity and the complexity of female lives - sometimes not conventionally "pretty" but fascinating and powerful - Schuler's work offers an independent, strong and beautiful vision of womanhood that seeks to provoke thought and empower others. Schuler's own story is one of incredible strength and tenacity, born out of a personal journey that both challenged and shaped her, ultimately allowing her to find healing and joy through her art, and to share that journey with others. Born in Chicago, she spent part of her childhood in Ecuador with her grandparents, before returning to the city's north side and a difficult homelife that prompted her to leave home at an early age. On her own as a teen, Schuler found both solace and a profession in her lifelong talent for creating artwork, eventually building a robust business around commissioned work for designers of hospitality environments and becoming a savvy, successful entrepreneur. Meanwhile, her self-taught fine art practice continued as a constant outlet for her creativity and vision - work that allowed her inner life and past traumas to make their way onto canvas, transforming pain into joy through the alchemy of art.   Select Exhibitions/Awards   Currently represented by galleries across the U.S. and in France, Schuler has had exhibitions throughout the U.S. as well as in France, Italy, Greece, Singapore and Lebanon, and in major international art fairs Expo Chicago, Art Miami, Palm Beach Contemporary, Red Dot, Art Hamptons, Dallas Art Fair and Art Silicon Valley. Her work is a part of the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art and St. Thomas University Museum of Art - Sardiñas Gallery in Miami. Her art, as well as selected essays and poetry, has also been collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, Paintings 2016 and René Romero Schuler, 2019. A fourth book, Ladies, is scheduled for publication in 2022.   Gallery Representation   Zolla/Lieberman Gallery -Chicago Galerie Géraldine Banier-Paris   Statement about AOAP Submitted Artwork   Spirit is what connects all of humanity. Yet, the innate human nature that drives us to judge one another based on nothing more than face value is a notion that fascinates me and thoroughly influences my work. In every work I create, I strive to show the imperfection, stress and underlying beauty of the being I portray. There are no fine characteristics or clearly defined attributes to my figures -- they are everyone and no one. The meaning lies in the representation of the image, not the image or the "face value" itself. With a fluid and meditative approach to my work, this understanding emerges - our inner beauty transcends the physical, emotional and mental barriers that our life experiences have created within us. I hope to tap into the need to realize and embrace that transcendence with work deeply connected to my soul, and I attempt to convey that truth in everything I do. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

René Romero Schuler Ibiza, 2022 Acrylic on Paper Signed verso 15 x 10cm (5¾ x 3¾ in.) About   René Romero Schuler is an American painter and sculptor whose work is directly connected to her strong belief in the power of femininity and the stories women have to tell. Embracing the contrast between perceptions of femininity and the complexity of female lives - sometimes not conventionally "pretty" but fascinating and powerful - Schuler's work offers an independent, strong and beautiful vision of womanhood that seeks to provoke thought and empower others. Schuler's own story is one of incredible strength and tenacity, born out of a personal journey that both challenged and shaped her, ultimately allowing her to find healing and joy through her art, and to share that journey with others. Born in Chicago, she spent part of her childhood in Ecuador with her grandparents, before returning to the city's north side and a difficult homelife that prompted her to leave home at an early age. On her own as a teen, Schuler found both solace and a profession in her lifelong talent for creating artwork, eventually building a robust business around commissioned work for designers of hospitality environments and becoming a savvy, successful entrepreneur. Meanwhile, her self-taught fine art practice continued as a constant outlet for her creativity and vision - work that allowed her inner life and past traumas to make their way onto canvas, transforming pain into joy through the alchemy of art.   Select Exhibitions/Awards   Currently represented by galleries across the U.S. and in France, Schuler has had exhibitions throughout the U.S. as well as in France, Italy, Greece, Singapore and Lebanon, and in major international art fairs Expo Chicago, Art Miami, Palm Beach Contemporary, Red Dot, Art Hamptons, Dallas Art Fair and Art Silicon Valley. Her work is a part of the permanent collections of The Union League Club of Chicago, Loyola University Museum of Art (LUMA) in Chicago, Grand Valley State University in Michigan, Coral Springs Museum of Art and St. Thomas University Museum of Art - Sardiñas Gallery in Miami. Her art, as well as selected essays and poetry, has also been collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, Paintings 2016 and René Romero Schuler, 2019. A fourth book, Ladies, is scheduled for publication in 2022.   Gallery Representation   Zolla/Lieberman Gallery -Chicago Galerie Géraldine Banier-Paris   Statement about AOAP Submitted Artwork   Spirit is what connects all of humanity. Yet, the innate human nature that drives us to judge one another based on nothing more than face value is a notion that fascinates me and thoroughly influences my work. In every work I create, I strive to show the imperfection, stress and underlying beauty of the being I portray. There are no fine characteristics or clearly defined attributes to my figures -- they are everyone and no one. The meaning lies in the representation of the image, not the image or the "face value" itself. With a fluid and meditative approach to my work, this understanding emerges - our inner beauty transcends the physical, emotional and mental barriers that our life experiences have created within us. I hope to tap into the need to realize and embrace that transcendence with work deeply connected to my soul, and I attempt to convey that truth in everything I do. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Weef Spirit 4, 2022 Acrylic on Paper Signed verso 10 x 15cm (3¾ x 5¾ in.) About After a life time meeting tight deadlines on Fleet Street working as a designer and illustrator I have now retired to the idle of Bridport in Dorset to spend more time walking a mad puppy and painting when he allows   Education   Jacob Kramer College - now Leeds Art College. Cambridge College of Art. MA in Fine Art Printmaking   Statement about AOAP Submitted Artwork   I am fascinated by the female form in movement, be it ballet or simple yoga. Message from Art On A Postcard: Please do not bid if you intend to sell on the artwork. All artworks have been generously donated by the artists to raise money for The Hepatitis C Trust and when work is sold on the secondary market, it damages our relationship with the artist and prevents us from fundraising

Pierre Kunz. An 18k white gold automatic eccentric dial square wristwatch with retrograde date and secondsModel: Spirit of Challenge, No 1Reference: PKL 015 SDRDate: Circa 2000Movement: Nickle automaticDial: Red with silvered time dial at 12, silvered retrograde date chapter around edge and retrograde seconds sector at 6Case: Brushed square, reeded band, exhibition back secured by 4 screwsStrap/Bracelet: White Pierre Kunz crocodile leatherBuckle/Clasp: Signed 18K white gold faceted buckleSigned: Case, dial & movementSize: 33mm Accompaniments: Pierre Kunz box, outer card, International WarrantyThis lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com

Pierre Kunz. A stainless steel automatic calendar wristwatch with retrograde secondsModel: Spirit of Challenge Reference: G016 SportDate: Circa 2000Movement: Jewelled Cal.ETA2892A2 automatic, No.387, PK2001Dial: Blue carbon fibre, applied luminous filled Arabic and baton numerals, date aperture below 12, sector at 6 for retrograde seconds, luminous tipped hands engraved with Pierre KunzCase: Brushed round, ridged band, back secured by 6 screws, screw down crown, No.283Strap/Bracelet: Black Pierre Kunz rubberBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 44mmFor further information on this lot please visit Bonhams.com

LOVE, Chr. Den strijdt tusschen vleesch en geest, als mede de droevige onttrekkinge van Godts geest, met de oorzaaken van dien: ende het zaligh wandelen door den geest. (…) uit het Engels vertaalt, d. J. Coelman. Hier is noch by gevoeght een ander boekjen van den zelvigen autheur, naamlijk: Den schuldighen plicht en de behoudenis van een Kristen in booze tijden. Utr., H. Versteegh, 1656. (24), 586, (38) pp. W. letterpress front. w. large engr. Cont. vellum w. overl. sides. (Vellum a bit soiled, lower blank margin front rep.). NOTE:Rare first Dutch edition of 'The combate between the flesh and spirit' (1654). Not in UB Leiden. - Schoneveld 384; Van der Haar, From Abbadie to Young, 1125.

A turned and polished wood spirit barrel with bird finial, overall length 18cm; 2 pieces of Tunbridge ware; other treen

Two African hardwood walking sticks; a walking stick with internal spirit flask

Metal dolls’ house chattels, a white painted tinplate serving tray on stand with red, green and black stencilled flower and pierced gallery on three side -2 ¾in. (7cm.) high (slight flaking); an early red painted tinplate salt (missing lid?); and six cooking pots, four with spirit paint

An early German Penny Toy tinplate gun boat, with grey painted hull, red spirit deck and flag, funnel with steam, other parts in gold spirit, trigger for firing ball from prow gun -4 ¼in. (11cm.) long (slight wear, possibly something missing from deck in front of funnel)

German silver plated coffee percolator with detachable whistle to lid on tripod stand with spirit burner

Star Wars - Large group of Star Wars collectables including 'Power Of The Force' Jedi Spirit 84058, Jabba The Hutt 84740, R2-D2 poster, chess board, C-3PO bobble head, etc.

Album containing 25 advertisements from The Wine & Spirit Trade. Record's dating from 1930, with names to include Monnet, Don A.A. Ferreira & Johnnie Walker etc.

Quantity of tools, including wooden spirit level 

Two Chuck Ren cold painted figures of native Americans. Comprising 'Spirit of the Plains' and 'Deliverance', both with wooden mounts, H20cm

A large plastic crate containing hand tools, spirit levels, Powerdevil sander, Wickes bench grinder, inspection lamp etc.

A Pair of Novelty Silver Plated Spirit Measures in the Form of Riding Boots together with a Copper and Brass hunting Horn

UTAGAWA KUNISADA / TOYOKUNI III (1786-1864) UTAGAWA KUNIYOSHI (1797-1861), AND OTHERS EDO AND MEIJI, 19TH CENTURY A collection of Japanese woodblock prints mounted as a makimono (handscroll picture), including three portraits of famous sumo wrestlers by Toyokuni III; two portraits from Kuniyoshi's series 'Comparison of the Spirit of Able Men', and two from 'Mirror of Women of Wisdom and Courage'; and other various prints by different artists, the scroll 36cm x 980cm.

Four stoneware flagons, one marked Cobbold & Son Wine & Spirit Merchants, Ipswich

A square cut glass spirit decanter with silver collar

An empty plastic tool box and two boxes containing Black and Decker drill, spirit level and various other tools