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A set of three Elizabeth II silver jubilee spirit labels, maker Roberts & Belk Ltd, London, 1977: of inverted thistle shaped-outline, bears Royal Coat of Arms, Whisky, Brandy and Port, total weight of silver 96gms, 3.10ozs.

A copper spirit kettle, a lamp etc.

CK Number 2 stationary live steam engine with oscillating cylinder, whistle and three wick spirit burner, with a Mamod catalogue 

A silver plated spirit kettle and teapot with a Edwardian lamp shade.

A group of sound mixing music equipment including a Numark C3usb professional 19" mixer with USB, a Behringer 24-bit Multi-FX processor (XENYX X1222USB), a Soundcraft Spirit M8 digital-out, Xenyx 1202 Premium 12-input 2-bus mixer, a Korg Volca Beats analogue rhythm machine, a Skytec STM-3020B 4-channel music mixer (USB/MP3), a Adastra ML622 mic/line rack mixer and a USB bus, some boxed.

Four Wade Royal Victoria pottery spirit barrels, comprising Port, Gin, Sherry, and Scotch, printed marks.

MacDiarmid, Hugh [Christopher Murray Grieve, 1892-1978] Substantial collection of autograph letters the letters signed 'Chris', 'Christopher Murray Grieve', 'Christopher Grieve', or 'C. M. Grieve', various extents, the recipients comprising: 1. Miss A. Milne of Glasgow, 1927, on journalism, ('Once we know exactly who are taking the articles I have other ideas which may get at those papers which aren't, and for the development otherwise of a comprehensive service of articles on the whole range of Scottish national arts and affairs as a help towards colouring public opinion nationalistically and creating a new national spirit'), 3 pp., tear to final page; 2. R. E. Muirhead, chairman of the National Party of Scotland, 1929, on details of party politics, 4 pp.; 3. William 'Bill' MacLellan (1919-1996), publisher, 3 letters, 1946, on revising the proofs for 'A Kist of Whistles', 2 pp., and two dated 1954, on the liquidation of the Falcon Press and the publication of MacDiarmid's 'Joyce poem' (associated correspondence attached), 1 and 2 pp; 4. Peter Russell, 2 letters, 1957 and undated, on MacDiarmid's visit to China and meeting Christopher Logue in London, each 1 p.; 5. Jim Haines, 1961, enclosing a letter from South African poet David Wright, 1 p.; 6. 'Derek', apparently an editor at nationalist magazine Catalyst for the Scottish Viewpoint, 2 letters, 1968 and undated, 1 p. each, both enclosing articles for the magazine, MacDiarmid's autograph fair copies of both articles ('On Skian Dubh's Fifth Birthday', 7 pp., and 'Scotland Trapped in Cat's Cradle of Bureaucracy', 3 pp.) attached, together with an issue of the magazine (Summer 1968); 7. Edward Nairn (1918-2013), bookseller and publisher, 1973, on republishing works by MacDiarmid, 2 pp.; 8. Professor Alastair Fowler, University of Edinburgh, 2 letters, 1972 & 1975, on the publication of MacDiarmid's Complete Collected Poems, each 1 p. Together with: various untitled autograph notes and jottings by MacDiarmid (6 discrete items, first lines including: 'An excellent recent case in point is that of the late Sir George Berry, the distinguished surgeon-oculist', 4 pp., unsigned; 'War, wine and women were said to be the only subjects for song' 2 pp., unsigned); and additional manuscript material by other authors relating to Hugh MacDiarmid: Eric Linklater (1899-1974), signed typescript article on Hugh MacDiarmid, 8 pp., rectos only; 3 letters addressed to MacDiarmid, from David Archer of the Parton Press, Paul Potts (1911-1990) and apparently F. Marian McNeill (1885-1973); and 2 letters from Kenneth Buthlay (1926-2009), scholar of Scottish literature, to William MacLellan (1 folder)

MacDiarmid, Hugh [Christopher Murray Grieve, 1892-1978] Collection of autograph manuscripts all written on rectos only unless stated, mainly on foolscap sheets, secured with paperclips, and comprising: [Autobiographical reflections], begins 'From my earliest childhood I was sure I was going to be a poet', mentions Chaucer, Charles Doughty, Robert Burns, 4 ff.; [Reflections on haggis and Burns Night], 5 ff., apparently incomplete at end ('What is a haggis? It is not a wild animal hunted in the Scottish mountains ... It is, in fact, an excellent dish, but it looks barbarous, and that is probably the secret of its function ... The annual Burns Supper is a peculiarly Scottish phenomenon which has nothing to do with love of poetry ...'); [Reflections on Robert Burns and the 'Burns cult', possibly a Burns Supper speech], c.1960, 3 pp., rectos and versos, annotations in another hand; [Speech in Scots, on an unidentified occasion, possibly held in MacDiarmid's honour], c.1950, begins 'Sae faur as the feck o' my feelins are concerned ... I feel like the Yankee millionaire risen frae the gutter', 12 ff; [A critique of the Tory party with reference to Karl Popper], c.1970?, 4 ff., newspaper cutting referring to Ted Heath's Vietnam policy taped to final leaf; [Short piece on Scottish poetry], ('Attention has been concentrated on the rebirth of poetry in Lallans, and it is not sufficiently realised that along this there has been a notable development of poetry in Gaelic ...', 2 ff.; 'Mackintosh Memorial Trust. Statement regarding the future of the Cranston Tearoom in Ingram Street' ('Glasgow City Council has a worse record and reputation in regard to cultural matters than any other corporation in the United Kingdom'), 4 ff.; 'Address by Hugh McDiarmid [sic], President of the Dunedin Society, at the Annual General Meeting, 5/8/47', 21 ff., in pencil; [Speech to the 1320 Club], 5 pp., rectos and versos, with MacDiarmid's autograph corrections; 'Hugh MacDiarmid on BBC TV and Radio from Scotland', begins 'In my preview of BBC TV and Radio from Scotland in the Radio Times on 18th September I commented on the upsurge of a new creative spirit in Scottish arts ...', 4 ff.; (1 folder)Note: Many if not all of these pieces appear to be unpublished.

Macdiarmid, Hugh [Christopher Murray Grieve] 14 signed works comprising: Sangschaw. Edinburgh: William Blackwood and Sons, 1925. First edition, 8vo, front free-endpaper signed "Hugh MacDiarmid", original blue cloth gilt; Idem. Penny Wheep. Edinburgh: William Blackwood & Sons Ltd., 1926. First edition, 8vo, inscribed: "To Alex McGill, hoping he'll never in actual virtuous practice have to descend to anything so mild as "penny wheep" C.M. Grieve ("Hugh McDiarmid").", original blue cloth gilt, dust-jacket; Idem. To Circumjack Cencrastus, or The Curly Snake. Edinburgh: William Blackwood & sons Ltd., 1930. First edition, 8vo, inscribed: "To Gordon Bottomley, in admiration and affection. C.M. Grieve, Liverpool, December 1930", original blue cloth gilt; Idem. The Islands of Scotland... London: B.T. Batsford Ltd., 1939. First edition, 8vo, inscribed: "For my friend A.A.S. Keir with every high regard. Hugh MacDiarmid, Aberdeen. Oct. 1963", original purple cloth; Idem. A Drunk Man Looks at the Thistle. Edinburgh, 1962. Fourth edition, 8vo, inscribed: "To Finlay J. MacDonald with every high regard from Hugh MacDiarmid", original blue cloth, dust-jacket; Idem. The Fire of the Spirit, two poems. Glasgow: Duncan Glen, 1965. 8vo, 'extra' copy of 350 signed copies, original wrappers; Idem. On a Raised Beach: a poem. Preston: The Harris Press, 1967. Oblong 4to, signed by MacDiarmid, original wrappers; Idem. Direadh I, II and III. Frenich: Kulgin Duval & Colin H. Hamilton, 1974. 4to, number 200 of 200 copies signed by MacDiarmid, original red quarter morocco, slipcase; Idem. Selected Poems of Hugh MacDiarmid. Glasgow: William Maclellan, [n.d.] 8vo, inscribed: "To Helen with love from Hugh MacDiarmid. June.1945." original quarter cloth gilt, dust-jacket; Idem. Lap of Honour. London: MacGibbon & Kee, 1967. 8vo, signed by Hugh MacDiarmid to the front free-endpaper, original paper-covered boards, dust jacket; Idem. Contemporary Scottish Studies. Edinburgh: The Scottish Educational Journal, [n.d.] 4to, signed to the front free-endpaper, original cloth, dust-jacket; Idem. Complete Poems. London: Martin Brian & O'Keefe, [1978.] 2 volumes, 8vo, original cloth, signed, slipcase; Wright, Gordon. MacDiarmid, an illustrated biography... Edinburgh: Gordon Wright Publishing, [1977]. 4to, original wrappers, signed; and 10 photographs of Hugh MacDiarmid (24)

MacDiarmid, Hugh [Christopher Murray Grieve] Collection of pamphlets by or relating to Hugh comprising: Trevlyn, Valda (wife of Hugh MacDiarmid). Two Poems. [Verona]: printed for Valda, G[iovanni] M[ardersteig], [Officina Bodoni], 1970. First edition, one of 15 copies only, large 8vo, original wrappers, 5 pp., inscribed by Trevlyn on the title-page 'For Christopher, with all my love, Valda, 25/11/70', presumably to her husband Christopher Murray Grieve (i.e. Hugh MacDiarmid); MacDiarmid, Hugh. Early Lyrics by Hugh MacDiarmid recently discovered among Letters to his Schoolmaster and Friend George Ogilvie. Preston: Akros Publications, 1968. First edition, one of 50 copies signed by author and editor from the total edition of 300, 8vo, original, wrappers; Idem. Second Hymn to Lenin. Thakeham: Valda Trevlyn, c.1932. 2 copies, first editions, one being one 100 copies signed by the author and additionally inscribed 'To my good friend Neil M. Gunn [...]' and with laid-in autograph letter signed ('Chris'), the other out-of-series and inscribed by the author 'To Barbara Niven, with gratitude and all comradely feelings [...], 8vo, original wrappers; Idem. Five Bits of Miller. London: for the author, 1934. First edition, one of 40 copies signed by the author, this copy additionally inscribed 'To my friend G. S. Whithorn from Hugh MacDiarmid, London, June 1934', 4to, original wrappers; Idem. The MacDiarmids. A Conversation. Hugh MacDiarmid and Duncan Glen. Recorded at Brownsbank ... 1968. [Preston]: Akros, 1970. 2 copies, first editions, each one of 55 copies signed by MacDiarmid and Glen, 8vo, original wrappers; Idem. The Fire of the Spirit. Glasgow: Duncan Glen, 1965. 2 copies, first editions, 8vo, original wrappers; Idem. A Political Speech. Edinburgh: Reprographia, 1972. 4 copies, first editions, 8vo, original wrappers; Idem. the ugly birds without wings. Edinburgh: Allan Donaldson, 1962. 2 copies, 8vo, original wrappers; Idem. David Hume. Scotland's Greatest Son. Edinburgh: The Paperback, 1961. Oblong 8vo, original wrappers; Idem. Poems to Paintings by William Johnstone 1933. Edinburgh: K. D. Duval, 1963. 4to, original wrappers; Glen, Duncan. The Literary Masks of Hugh MacDiarmid. Glasgow: Drumalban Press, 1964. First edition, one of 55 copies signed and hand-illustrated by the author, 4to, original wrappers; and 12 others including 2 more by Trevlyn (High Death, Falkland: K D Duval, 1970, one of 100 copies only, single sheet of blue hand-made paper folded twice, inscribed 'For William & Mary, Valda Trevlyn'; A Sea-Girl's Cry, 1971, one of 100 copies, signed), and various studies of MacDiarmid (30)Note: Three copies of Two Poems traced in libraries world-wide, all in the USA.

Macdiarmid, Hugh [Christopher Murray Grieve] A collection of signed works [Manuscript Poem] Manuscript copy of Island Funeral by Hugh MacDiarmid, in MacDiarmid's hand, with a few corrections, 11 loose leaves Idem. Sangschaw. Edinburgh: William Blackwood and Sons, 1925. 8vo, inscribed: "To Margaret Campbell with my best love, from Hugh MacDiarmid. Motherwell, 29th May 1952", original blue cloth, dust-jacket; Idem. Direadh I, II and III. Frenich, Foss, 1974. 4to, number 156 of 200 copies signed by MacDiarmid, original red quarter morocco gilt, slipcase; Idem. Selected Poems of Hugh MacDiarmid. Glasgow: William MacLellan, [n.d.] 8vo, signed by MacDiarmid to front free endpaper; Idem. A Lap of Honour. London: MacGibbon and Kee Ltd., 1967. 8vo, signed by MacDiarmid, original red paper-covered boards, dust-jacket; Idem. The Fire of the Spirit. Glasgow: Duncan Glen, 1965. 8vo, signed by MacDiarmid, original wrappers; Idem. Scots Unbound, and other poems. Stirling: Eneas Mackay, 1932. 8vo, number 114 of 350 copies signed by MacDiarmid, original brown cloth gilt; Idem. The Uncanny Scot. London: MacGibbon & Kee, 1968. 8vo, signed by MacDiarmid, original red cloth gilt, dust-jacket; Idem. A Drunk Man Looks at the Thistle. Edinburgh, [1962.] Fourth edition, 8vo, signed by MacDiarmid, original blue cloth; Idem. A Political Speech. Edinburgh, 1972. 8vo, copy number 16 (of 50), signed by MacDiarmid, original wrappers; Idem. Cornish Heroic Song for Valda Trevlyn. Padstow: Lodenek Press, 1977. 8vo, inscribed: "Signed for my friends Edward Nairn and Ian Watson with affection, gratitude, and my best wishes Hugh MacDiarmid.", original boards; and another copy, in wrappers, signed by Hugh MacDiarmid and Valda Trevlyn; Idem. Cunninghame Graham, a centenary study. Glasgow: Caledonian Press, [n.d.] 8vo, inscribed: "Signed for my friends Edward Nairn and Ian Watson with kindest regards and best wishes Hugh MacDiarmid", original green cloth gilt, dust-jacket; Idem. On a Raised Beach. Biggar: Valda Grieve, 1985. Folio, copy number 40 of 100, signed in pencil by Valda Grieve and Reinhardt Behrens, original blue cloth; Idem. The Day Before the Twelfth, a loose typed poem, inscribed: "Signed with pleasure for Miss T.M. Walton by Hugh MacDiarmid"; Wright, Gordon. MacDiarmid, an illustrated biography. Edinburgh, Gordon Wright Publishing, 1977. 4to, inscribed: "Signed with pleasure and best wishes for my friends Edward Nairn and Ian Watson by Hugh MacDiarmid.", original blue cloth gilt, dust-jacket; Glen, Duncan. A Small Press and Hugh MacDiarmid. Preston: Akros Publications, 1970. 4to, signed by Hugh MacDiarmid, original wrappers (17)

A wooden joiner's toolbox and contents comprising approx. 50 maintained tools including eight types of saws, wood plane, spirit level, complete socket set, screw drivers, spanners, pincers, pliers, hammers etc.

A Hasselblad miniature spirit level, boxed; other Hasselblad photography related items, 1960s brochures, enamelled pin, two badges, keyring

Kevin Devonport, "Untamed Spirit", oil on canvas, 90 x 60cm, c. 2021. A large close up, off canvas composition of a bulldog. This painting is a published work and can be found in Anthology 3: a collection of international artists with a copy of this book housed in the Spanish National Library. Free UK shipping.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Untitled", 1947.Oil on paper.Signed and dated on the back.Size: 65.5 x 50 cm; 89 x 74 cm (frame).This seminal work in Joan Ponç's artistic career condenses the revolutionary impetus of the young artist into a motley composition. Dated 1947, this was a key year for Ponç, who was at the crest of the avant-garde wave in Franco's Catalonia. He had just founded the magazine Algol, the embryo of what would become the magazine Dau al Set (1948). In this work on paper, the influence of Miró can be seen, but at the same time, there are already creations born out of Ponç's boisterous imagination.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). One of the most singular and enigmatic painters in the history of modern art, Ponç painted in order to survive the world, and turned each of his creations into a magical act. His trajectory describes a circular path over the years, almost without evolution, if we understand as such the change from one language to another, the variation of styles, the transformation of the unknowns that led him to paint. Ponç was a painter-poet, who used his brushes to discover the only world he knew, the most real of all, the world that lies in the depths of his own being. It is a world inhabited by strange creatures with half-human, half-animal bodies, by demons who make us participants in their actions, by deserted spaces in which symmetrical mounds, craters in a line, Stygian lagoons under dark skies broken only by the glow of coloured moons stand out. 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, among others.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984).Untitled, 1947.Ink on paper.Signed in the lower left corner.Work published in the artist's online catalogue raisonné, ref. 1979.Size: 55 x 43.7 cm; 82 x 71 cm (frame).In this composition, full of cryptic emblems, Joan Ponç's imaginary is synthesised in all its alchemical splendour. During the 1940s, the period to which this painting belongs, Ponç's plastic universe was already beginning to be nourished by premonitory visions and hunches, giving shape to a clairvoyant, mystical and existential language. The perspective of time has reaffirmed the relevance and exceptionality of his work, as well as the intensity of his voice and the need for its rediscovery.A painter and draughtsman, Joan Ponç 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 mark 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 Dau al Set disbanded, he held an exhibition at the city's Museum of Modern Art, with such success 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.

JOSEP MARIA RIERA I ARAGÓ (Barcelona, 1954).Untitled, 1998.Mixed media and collage on canvas.Signed and dated in the lower right-hand corner.Size: 129,5 x 182,5 cm.The poetics of the absurd beats with intensity in Riera i Aragó's "poetic machinism". His interest in transforming machines into living sculptures that express the idea of flight or diving originated in the eighties, and in the nineties (the decade in which he produced the painting in question) this interest had already spread to a variety of techniques, not only in sculpture (graphic art, collage, works on paper...) Wheels and propellers suggest an impossible journey, a flight that is only possible with the imagination. Riera i Aragó somehow picks up on the Dadaist spirit and his passion for creating useless machines, but his is a passion for a very particular type of machine, which has become a rubric, so that his art is recognisable whatever the medium used.A painter and sculptor, Josep Riera i Aragó trained at the Escuela Superior de Bellas Artes in Barcelona. He made his individual debut in 1981 at the Artema gallery in Barcelona. Two years later he took part in the Salón de Otoño in that city, and since then he has shown his work all over the world, in leading galleries in Spain, Mexico, Holland, Israel, Germany, Belgium, France, Luxembourg, Switzerland, Colombia and the United States. Particularly noteworthy are the solo exhibitions he has held at the Musée de Ceret (France, 1989), the Bibliothèque Nationale de Paris (1993), the Oostende Museum of Modern Art (Belgium, 1997), the Joan Prats Gallery in New York (1998), the Tassende Gallery in Los Angeles (2003) and the Museum of Aalst in Belgium (2006), among others. Since 1983, Riera i Aragó has developed his plastic discourse around machinery, with a symbolic language marked by an interest in air and sea transport, which he sees decontextualised, separated from their original function. At the same time, his plastic language has been enriched by the deepening of the line/plane and empty/full dialogue. Never repetitive, each "machine" he creates evokes, without pathos or condescension, a clear and comprehensive vision of humanity. With a visual vocabulary limited to simple forms reminiscent of zeppelins, submarines or aeroplanes, Riera i Aragó develops a fertile iconography charged with meaning which, endowed with a clear irony, speaks of the absurd recklessness of man's creations and of the poetic justice that results when these creations turn against him. His work should be understood as a global story, which is related to languages as disparate as astronomy, botany, mathematics and mysticism, and which offers the spectator the possibility of entering a particular and highly lyrical universe, where reality and fiction cease to be opposing categories. Riera i Aragó is currently represented at the MACBA, the Joan Miró, La Caixa and Vicent Van Gogh foundations, the Museum of Modern Art in Luxembourg, the Rufino Tamayo Museum in Mexico, the Ceret and Reattu Museum in Arles in France, the Otani Museum in Japan and the Heilbronn Museum in Germany, among many others.

ARAGON LOUIS: (1897-1982) French poet, one of the leading voices of the surrealist movement in France. A.L.S., Louis Aragon, one page, small 4to, Amesbury House, Amesbury, Wiltshire, n.d., to Roger Vitrac, in French. Aragon writes, in full, 'A certain spirit of perversity made me visit you the other day, Roger Vitrac. I forbade myself from telling you in person what I could explain to you by writing. Truly, it's you that made it that way, and I'd like to repeat this same thing next time I visit. I should add that the inexplicable chatter last Tuesday was not at all due to a tendency to become paralysed which keeps returning me to a place I dread. Useless explanations. In friendship?' and in a postscript also asks if Vitrac wants to send his enquiry to Georges Limbour, whose address in Le Havre he provides. A letter of good association. VGRoger Vitrac (1899-1952) French surrealist poet and playwright. Vitrac had met Aragon and Andre Breton in 1921 at the Café Certa, one of the headquarters for Dada, and later Surrealist, activities. Vitrac became formally associated with the Dadaists and was also a founding member of the Surrealist movement and one of the signatories of Breton's First Surrealist Manifesto in 1924.Georges Limbour (1900-1970) French writer, poet and art critic.

MONTESQUIEU: (1689-1755) Charles Louis de Secondat, Baron de La Brede et de Montesquieu. French Judge, Historian and political Philosopher. Montesquieu is the main source of separation of powers which is today implemented in many constitutions all over the world. His work The Spirit of Law (1748), anonymously published, strongly influenced the Founding Fathers of the United States when drafting the Constitution. Very rare L.S., Montesquieu, two pages, 4to, Bordeaux, 19th October 1748, to monsieur Titon Dutillet, in French. A very cleanly written letter, Montesquieu stating in part `J´ai reçu Monsieur la lettre obligeante que vous m´avez fait l´honneur de m´écrire au sujet de ma nouvelle Edition de la Grandeur des Romains, il serait bien flateur pour moi qu´elle eut plû a un homme aussi connoisseur que vous et don't l´esprit est rempli de tant de belles choses…´ ("I received Sir the obliging letter that you have had the honour to write to me about my new Edition of the Grandeur des Romains, it would be very flattering for me if it had pleased a man as connoisseur as you and whose mind is filled with so many beautiful things…") Montesquieu further refers to his correspondent´s work, saying `Des que je fus arrive ici, mon premier soin fut de remettre a Mr. De Sarrau votre ouvrage immortel le Parnasse Français´ ("As soon as I arrived here, my first goal was to deliver to Mr. De Sarrau your immortal work, le Parnasse Français (the French Parnassus)") With address leaf, written in his hand, bearing a red wax seal in fine condition. VG Evrard Titon du Tillet (1677-1762) French officer under Louis XIV, Captain of the Dragoons, war Commissioner and butler to the Duchess of Burgundy. Titon du Tillet wanted to erect a monument to the glory of the King on which men of letters and artists would have figured. The project only led to the writing of "La description du Parnasse Français", rich in information on the literary and musical life of the time.

LINDBERGH CHARLES: (1902-1974) American Aviator who made the first solo non-stop flight across the Atlantic from Paris to New York in the Spirit of St. Louis, May 1927. T.L.S., Charles A. Lindbergh, one page, 4to, Scotts Cove, Darien, Connecticut, 14th June 1967, to Colonel Louis Castex. Lindbergh states that he had departed the United States in April for a trip to Europe and continues to explain 'At that time I expected to return the first week in May. When I was in Amsterdam at the end of April, a phone call with New York resulted in my going directly to Viet Nam from Europe, and remaining in south east Asia throughout the month of May. During this time I was travelling almost constantly and without much pre-arranged schedule. For two weeks in Indonesia I was out of even radio communication. I made no attempt to have mail forwarded after I left the United States', giving this as the reason that he has only just read his correspondent's considerate letter and apologising for the late reply and for not having been able to accept an invitation. Some light staining and minor age toning to two edges, not affecting the text or signature. About VG Louis Castex (1896-1968) French aviation pioneer who served in World War I and later became director of Air France's transatlantic service, at the same time befriending Antoine de Saint-Exupery.

[HMS ARK ROYAL]: HOLLAND CEDRIC (1889-1950) English Vice Admiral who commanded the aircraft carrier HMS Ark Royal during World War II. T.L.S., Cedric Holland, with holograph salutation and subscription, one page, 8vo, Albert Place, London, 16th September 1958, to Ashley T. Cole. Holland thanks his correspondent for their letter and returns a book (no longer present) which he has signed and continuing to comment 'More than any other ship in which I have ever been she had a peculiar spirit which knit close all those who served in her'. Together with a telegram (received copy) from Holland to a Colonel Rutherford, inviting him to dinner on board HMS Ark Royal, 12th December 1940. G to VG, 2

[FRANCE]: An oblong 8vo printed folding propaganda pamphlet, possibly printed in the United States of America, n.d. (c.1922), the front cover bearing the printed caption French Militarism - a Threat to the World!! and the inside featuring two monochrome images beneath the heading Two Pictures Taken on the Same Day of August 1922, the first depicting Field Marshal Foch and General Weygand in full-length poses together, in civilian clothes, walking outside an official building in Paris, with the printed caption The French War Spirit! beneath, and the second image showing Paul von Hindenburg and Erich Ludendorff surrounded by numerous other German military officers, standing together in full-length poses in their uniforms and helmets in Munich, with the printed caption The German Peace Spirit! beneath. With an encircled image of the Statue of Liberty to the centre of the verso. Loosely contained in a collector's presentation folder with a typed label in French to the cover. VG

GERMAINE DE STAEL: (1766-1817) Also known as Madame de Stael, her real name being Anne Louise Germaine de Stael-Holstein. French leading Salonniere, a woman of letters and political Theorist. She was the daughter of Banker and French Minister Jacques Necker. A voice of moderation during the French Revolution, her intellectual collaboration with Benjamin Constant between 1794 and 1810 made them one of the most celebrated intellectual couples of their time. She lived many years in exile, first during the Reign of Terror and later escaping from Napoleon´s persecution. Rare A.L., one page, 8vo, n.p., n.d., `this Friday´, to Mr. Mackintosh, in French. Germaine de Stael states in part `Vous me manquez beaucoup, my dear Sir, vous êtes pour moi la belle Angleterre, celle de l´esprit et de l´âme. N´oubliez pas que j´attends vous et Lady Mackintosh demain a diner, vous me donnez mes jours de fête….´ (“I miss you very much my dear Sir, you are for me the image of the beautiful England with spirit  and soul. Don´t forget that I am waiting for you and Lady Mackintosh tomorrow for dinner, you bring me my happy days..”) Further ´referring to her son, very emotionally saying `Je vais diner lundi chez Lady Liverpool, voudriez-vous être de la partie? Il y a de bien grandes Nouvelles, ah mon pauvre fils eut été bien heureux de se battre a présent, cela me serre le coeur jusqu´au point de le briser.. ´ (“I am going to have dinner on Monday at Lady Liverpool´s home. Would you like to join us? There are great news, alas my poor son would have been very happy to be fighting right now. That constricts my heart to breaking point..”) One stain, only affecting one word, otherwise G  

A 19TH CENTURY STONEWARE SPIRIT BARREL 4 gallon, moulded and painted with the Royal Arms, and two smaller, all with taps (some damage) (3)

A cast iron BP motor spirit plaque

A plated spirit kettle on stand, with burner, a Royal Doulton figurine 'Heather' HN2956, a Staffordshire group of a courting couple with dog and lambs, with brocade back, other figures, (some damages) and a pair of carnival glass hat pin holders, (one a/f).

A Victorian silver-mounted spirit flask, by Louis Dee, London 1883, retailed by P and F Schafer, 27 Piccadilly, cylindrical form, bayonet fitting hinged cover applied with a crest, with a pull-off drinking cup, height 19cm, approx. weight 5.9oz.

ASSORTED TOOLS - ELU router and accessories, assorted saws, sash clamps, spirit level, pointing/grouting gun ETC, E/T

A GEORGIAN PRESENTATION SWORD, 75cm sharply curved blade decorated with scrolling foliage, flowerheads, stands of arms and panels of foliate and geometric designs, the whole highlighted in blue and gilt on a frost etched ground, the inscription: PRESENTED TO CHARLES EDMONSTON ESQUIRE BY THE GOVERNOR AND COURT OF POLICY OF THE COLONY OF DEMERARY AS A TOKEN OF THEIR ESTEEM AND THE SENSE THEY ENTERTAIN OF THE ACTIVITY AND SPIRIT MANIFESTED BY HIM FOR THE INTERNAL SECURITY OF THE COLONY 1802, maker's panel for BENJAMIN REDDELL SWORD CUTLER BIRMINGHAM, gilt hilt with acanthus and oak leaf stirrup guard, bold lion's head pommel, the gilt grip chased to either side with stands of arms within a panel, the langets decorated with stands of arms and the Union flag, pierced and panelled gilt scabbard with fishskin inserts, decorated with stands of arms and acanthus scrolls, maker's panel for Clarke & Sons, Cheapside London. Demerary should have read Demerara, which was located in British Guiana or Guyana.

Prog Rock Promos, six 12" Promo Singles / EPs of mainly Progressive Rock comprising King Crimson - Elephant Talk, Robert Fripp - Inductive Resonance, Robert Fripp - North Star, Summers / Fripp - I Advance Masked, Brian Eno / David Byrne - The Jezebel Spirit and Be Bop Deluxe - Adventures in a Yorkshire Landscape - Vinyl mainly all in Excellent condition

Progressive Rock LPs, approximately forty-five albums of mainly Progressive Rock with artists including Pink Floyd, Genesis, ELP, Peter Hammill, Rush, Atomic Rooster, The Nice, Split Enz, Kate Bush, Patrick Moraz, Supertramp, Phil Manzanera, Spirit, Bo Hansson, Jon Anderson, Manfred Mann's Earth Band and more - various years and conditions

CBS Label Demo 7" Singles, twenty-four Demo singles on CBS with artists comprising Opal Butterfly, Velvet Opera, Bob Marley, Moby Grape, The Epics, Geneveve, Humbug, Davey Sands and the Essex, J Vincent Edward, Al Kooper, Hogback n Pig, Hickory, Spirit, The Arbors, The Love Affair, The Buckinghams, Brenda & The Tabulations, Jackie Edwards, Sly & The Family Stone, James Royal, Santana and The Union Gap - various years and conditions

A boxwood and brass horse measure and spirit level, Cooper W Jones & Co, c1900, the folding 12" rule stamped COOPER W JONES & CO PATENT NO13263, leather case Good condition

A brass spirit level and a miner's safety lamp by the Protector Lamp & Lighting Co Good condition

Two Large 19th Century Stoneware Spirit Bottles or Flagons, both having applied and inscribed labels for 'J Beetham Spirit Merchant, Doncaster' 25cm high

A 19th Century Stoneware Flask with applied and impressed Retailers Label 'G & J. T Seller, York' 28cm high, together with a Stoneware Spirit Flask with underglaze lozenge mark and 'G' to handle, 20cm high

A large quantity of vintage tools; to include saws, spirit level and woodworking files.

Parcel of three compasses; an Engineers Directional Compass in pouch with instructions, Orienteering Compass with Magnifier and a Vintage StanleyNatural Sine Brass Compass in need of small needle rebalance repair and spirit level refixed

A blow lamp, spirit level, and a box of door hinges etc.

A Victorian copper tea kettle on spirit heater stand

TWO BESWICK HORSE FIGURES/FIGURE GROUPS comprising Spirit of Freedom 2689 height 18cm, in a grey matt finish, and Black Beauty and Foal A2466/2536, in a matt finish, on an oval wooden plinth (2)(Condition report: figures appear in good condition with no obvious damage, would benefit from a clean)

A GROUP OF EIGHT BESWICK HORSES AND FOALS, in brown matt and gloss glazes, comprising a Shire Mare 818 matt first version, a Thoroughbred Stallion (Small) 1992 matt, a Thoroughbred Stallion (Large) 1772A matt, Spirit of Freedom 2689 matt, a Shetland Pony 1033 gloss, a Foal (Small, Stretched, Facing Right) 815 gloss, a Foal (Small, Stretched, Upright) 763 gloss, and a Foal (Grazing) 946 gloss (8) (Condition report: good overall condition, 946 has repaired ear, 1772A has a small chip to front left hoof, 2689 has a coloured over chip to rear left hoof, otherwise ok)

A GROUP OF FIVE BESWICK HORSES AND FOALS, in palomino matt and gloss glazes, comprising a Swish Tail Horse 1182 matt second version, a Swish Tail Horse 1182 gloss second version, a Mare (Facing Right, Head Down) 1812 matt, Spirit of the Wind 2688 matt, and Spirit of Freedom 2689 matt (left ear broken and missing) (5) (Condition report: good condition and as stated, dusty)

A BOX CONTAINING A BRASS PESTLE AND MORTAR AND ASSORTED BRASS WEIGHTS ETC, together with a Falcon 22x magnification two draw telescope by Enbeeco of London, an Optical Fantasies Kaleidoscope, modern nautical compass and a wood and brass spirit level

A COLLECTION OF TOOLS to include saws, folding workbench, spirit levels, Draper rule, sledge hammer, axes, Rolson mini air compressor (UNTESTED), a Rabone trundle wheel etc

* Jelly Green (b.1992)Portrait of a cowsigned and dated 'Green 2010' verso, oil on canvas79.8 x 29.5cmGreen is a Suffolk-based artist whose work is inspired by the natural world. She has been mentored by the acclaimed painter Maggi Hambling. In Hambling's words, 'Jelly responds with great life-force to our native Suffolk landscape and some of its inhabitants. She is not afraid of paint but rather relishes it, and these encounters are full of discovery. Our eyes, therefore, are opened again to the ageless mystery and spirit of this place' (Maggi Hambling, 2012).Condition ReportFramed size: 84 x 33.5cm. Overall, in good condition.

* JULIAN BARROW (BRITISH 1939-2013),TOWER OF LETHENDYoil on canvas, signed and dated 1977, titled versoimage size 46cm x 62cm, overall size 61cm x 76cmFramed.Provenance: Private Edinburgh collection.Note: The Tower of Lethendy is a Scottish Baronial style house in Perthshire which has been the subject of media interest in 2022. It was widely reported in the Scottish press that the current owner is a Russian Oligarch albeit one who was among the first to openly and strongly condemn the war in Ukraine. The property boasts a heated swimming pool, two tennis courts and an 18 hole golf course. The press and media also reported that The Tower of Lethendy was acquired by the current owner in 2016.Note 2: Julian Barrow was a painter, adept at catching the spirit of a place, who travelled widely. He was born in Longtown, Cumberland, and studied at RWA and Signorina Simi’s Academy in Florence, Italy. He was a full member of Chelsea Arts Club, living nearby, and from 1988 for 23 years was President of Chelsea Art Society. Group shows included RA Summer Exhibition, 1961–99; Paris Salon, 1965; and NEAC, 2002. He had solo exhibitions at Hazlitt, Gooden and Fox 1972–74–77; Morton Morris & Co, 1982–85; Leger Gallery, 1989–92–95; and Fine Art Society 1999–05, plus many others in America and the Middle East. For decades he lived, with his wife Serena, in a magnificent studio on Tite Street in Chelsea (London) in the building formerly occupied at various times by Sargent, Whistler, Glyn Philpot and Augustus John. Julian Barrow was described by James Lees-Milne as “a country house painter par excellence” and his commissions for interiors and exteriors of country estates took him all over England, Scotland, Ireland, and America. He also painted many of the private clubs in London and New York. John Julius Norwich, in his introduction to the catalogue of a one-man show at the Fine Art Society in London in 2005, notes that Barrow’s pictures “radiate a love of life, a joy in light and shade and colour, a grateful appreciation of all the blessedness that lies around us if we can only make the effort to see it. They warm us; they cheer us; they convince us that whatever terrible things happen in the world, there is a beauty there a-plenty for the asking – and for the taking.” Barrow was commissioned to paint "Her Majesty the Queen Addressing Both Houses of Parliament on the Occasion of Her Golden Jubilee in Westminster Hall" (2002) having previously been commissioned to paint "HM The Queen in Westminster Hall Receiving the Jubilee Address on the 25th Anniversary of Her Accession to The Throne" (1977). Both held in the UK Parliament Art Collection. Julian Barrow's paintings are held in large numbers of prestigious private, corporate and public collections in the UK, US, Middle East, India and the Far East.Condition is good overall, with no visible signs of restoration, damage, or known issues. Additional images have been uploaded to our website. 

* CLAIRE HARKESS RSW (SCOTTISH b. 1970),ROO IIwatercolour on paper, signed, titled versoimage size 26cm x 15cm, overall size 47cm x 35cm Mounted, framed and under glass.Note: Claire Harkess was born in Ayr, Scotland, graduating from Glasgow School of Art in the early 1990s. In recent years her painting has taken her to fragile lands to study and interpret life on the edge. Antarctica, Outback Australia and St Kilda are all places where, in such extreme environments, survival is difficult and the balance of life is delicate. Harkess has also worked on the Galápagos Islands, made famous by Charles Darwin’s ‘The Origin of the Species’. This isolated volcanic outpost remained relatively untouched by man, evolving to become one of the World’s unique ecosystems. The balance present in nature is clearly communicated through Claire's paintings. Painting in watercolour or gouache offers a unique directness; the essential qualities of light and energy present in the natural world are the very essence of the medium itself. The delicacy of her palette and oriental economy of her mark-making creates a subtle tension representing a world that is ‘holding still’, giving a sense of freedom, spirit, time and place. Claire's work is exhibited at The Scottish Gallery, where her most recent highly successful solo show was in March 2022, and at other prestigious galleries around the UK.

A box of miscellaneous metalware to include brass spirit kettle, brass pedestal oil lamp, copper warming pan, brass chestnut roaster, etc

A box of various silver plated wares, to include a spirit kettle, table cruet set and flatware

A Beswick model of a Shire mare, No.818, brown gloss finish, h.21.5cm; together with a Beswick model Spirit of Earth, No.2914, brown matt finish, mounted upon a wooden plinth, gross h.21.5cm (2)

A silver plated spirit kettle and stand

A set of five silver spirit/bottle labels, one blank

A mid Victorian five glass mercury barometer by �Hugh, Stayley Bridge� in a mahogany case with a swan's neck pediment and round base, 8� silvered dial with weather predictions, steel indicating hand and brass recording hand, cast brass bezel and convex glass, with a �butlers� mirror, spirit thermometer, hygrometer, level bubble and recording hand setting disc

A Victorian mercury barometer c1860 in a rosewood case with mother of pearl inlay, with a rounded top and shaped base, 8” silvered dial with weather predictions, cast brass bezel and convex glass, steel indicating hand and brass recording hand, spirit thermometer in a raised box and recording hand setting disc.

Jake Sutton (British b. 1947): 'Simply London' 'Spirit of Scotland' and Rugby, three vintage posters one signed and dated 1999 in pencil max 90cm x 60cm (3)

ABERLOUR 10 YEAR OLDSingle malt.Named after the small Speyside town in which it resides, Aberlour distillery has cultivated a dedicated following, particularly in France where it is frequently the top selling single malt. The spirit it produces ages extremely well in Sherry casks and has a distinctive note of blackcurrant.Although it boasts an extensive core range, the expression it is perhaps best known for is the consistently excellent small batch A’Bunadh.40% ABV / 70clROZELIEURES RARE COLLECTION FRENCH SINGLE MALT40% ABV / 70cl

HIGHLAND PARK 1967 VINTAGESingle malt.Orkney’s Highland Park distillery is situated in the town of Kirkwall on the site of an illicit still thought to have been operated by Magnus Eunson, a smuggler, local butcher and former priest who was directly descended from Viking settlers. With that heritage, it’s fitting that today they frequently draw from Scandinavian mythology when it comes to naming their whiskies.The distillery is known for its signature style that utilises Orcadian peat in the malting process, resulting in a fragrant, heathery spirit that is most often left matured in Sherry wood.43% ABV / 70cl

HIGHLAND PARK 1977 BICENTENARY VINTAGESingle malt.Orkney’s Highland Park distillery is situated in the town of Kirkwall on the site of an illicit still thought to have been operated by Magnus Eunson, a smuggler, local butcher and former priest who was directly descended from Viking settlers. With that heritage, it’s fitting that today they frequently draw from Scandinavian mythology when it comes to naming their whiskies.The distillery is known for its signature style that utilises Orcadian peat in the malting process, resulting in a fragrant, heathery spirit that is most often left matured in Sherry wood.Bottle Number: 20940% ABV / 70clRusting to tube lid.

MACALLAN-GLENLIVET 1937 GORDON & MACPHAIL CRYSTAL DECANTERSingle malt.There are few distilleries in the world quite so revered as Macallan. Nestled in the heart of the Speyside region, the rich spirit that runs from their “curiously small stills”, and their penchant for Spanish Sherry casks have proven to be a match made in Heaven, delighting the tastebuds of whisky connoisseurs around the globe.With demand far outstripping supply, they embarked upon one of the most ambitious distillery upgrades of all time, investing £140 million in an ultra-modern still house and visitor centre that seamlessly blends with the surrounding landscape, and is home to a whopping 36 stills capable of churning out around 15 million litres of spirit every year. Even so, getting your hands on a bottle can still be tricky, with new releases selling out as soon as they hit the shelves, and older examples regularly setting records at auction.70° Proof / 75clDecanter and contents weigh 2238gPlease see additional image.