We found 49464 price guide item(s) matching your search

THREE ITEMS OF SILVER To include: a Victorian pin dish by William Comyns, London 1895, embossed with masks, foliate swags and a vacant reserve, 10.5cm (4 1/2in) long; an Edwardian circular box and cover by William Comyns, London 1904, the pierced cover chased with clovers to the centre, 6cm (2 1/4in) diameter; and a Victorian spirit flask by Cornelius Desormeaux Saunders & James Francis Hollings (Frank) Shepherd, Birmingham 1888, chased with foliate swags and engraved with a monogram within a circular reserve, 5cm (2in) diameter 100g (3.2 oz) gross

The outstanding Indian Mutiny medal awarded to Assistant-Surgeon H. M. Greenhow, 1st Oudh Irregular Cavalry, an original Defender recommended for the Victoria Cross for acts of bravery undertaken on the night of the arrival of Havelock's Relieving Force into the Residency; he was the last surviving Surgeon of the Defence of Lucknow Indian Mutiny 1857-59, 2 clasps, Defence of Lucknow, Lucknow (Asst. Surgn. H. M. Greenhow, 1st Oudh Irreg. Cavy.) good very fine £3,000-£4,000 --- Greenhow's claim for the Victoria Cross is detailed in the Fort William Military Proceedings( WO 32/7353 - February 1864). He was first recommended on 27 May 1861, by Major W. T. Johnson, of the 12th Irregular Cavalry, that on the night of 27 September 1857, after the Relieving Force under General Havelock had fought their way into Lucknow, Dr. Greenhow voluntarily left the protection of the Residency, of which he was an original defender, and at great personal risk brought in some 12 to 15 wounded soldiers of the relieving Force. Many wounded men were left outside the Residency who would have died but for the exertions of Greenhow. He zealously persevered in this good work from 10 pm until near daylight, issuing out on 3 or 4 occasions. The Committee replied “The Board considers this act of devotion well worthy of the decoration but it wants the further conformation of eye-witnesses and should be returned for that purpose to Surgeon Greenhow”. The recommendation was resubmitted with Brevet Surgeon Bird stating, “that he met Greenhow without the walls of the Residency engaged in bringing in the wounded of the Relieving Force. This was work of great difficulty and danger and I believe that several men and officers owe their lives to the exertions of Mr. Greenhow.” By December 1860 the large numbers of late claims for the Crimean campaign were exercising minds in Horse Guards as to what to do with the similar numbers being submitted for the Mutiny. The Duke of Cambridge ordered a halt in further Mutiny submissions but then changed his mind as it was recognised that the Indian Service had reasons for complaint. Many were on sick leave so the time was extended with the last awards being gazetted in February 1862. Unfortunately the last awards for the Mutiny did not arrive until December 1863. Lord de Grey as Secretary of State pronounced that no more submissions could be countenanced so Greenhow together with those of Assistant-Surgeon J. Lumsdaine, Bombay Medical Service and Major J. Edmondstoune, 32nd Foot were all refused. Interestingly the last claim for the mutiny was approved and gazetted in 1907 for Lieutenant Everard Aloysius Lisle Phillipps, 11th Bengal N.I. who was killed at Delhi in 1857 (The Evolution of the Victoria Cross by M. J. Crook refers). Henry Martineau Greenhow was born on 6 September 1829, at Hanover Square, Newcastle-upon-Tyne, into a prominent medical and political family. His father, Thomas Michael Greenhow, was an illustrious medical man, who co-founded Newcastle’s Eye Infirmary and the Newcastle University Medical School, later co-founding Durham University. His sister, Frances Elizabeth, married into the Lupton family and worked tirelessly for women's educational rights. His mother was Elizabeth Martineau, sister of the political and social theorist Harriet Martineau, a devout Unitarian and believer in Mesmerism (Note: Catherine “Kate” Middleton, Duchess of Cambridge, is a direct descendant from Greenhow's mother Elizabeth Martineau). He was educated at Newcastle and University College London; M.R.C.S. 1853; F.R.C.S. Edin. 1859. He was appointed Assistant Surgeon on 20 January 1854; Brevet Surgeon, 5 September 1858; Surgeon, 1 January 1866; Surgeon Major, 1 July 1873; retired 1876. He died at Esher, Surrey, on 26 November 1912. Surgeon H. M. Greenhow was present and served with the Oudh Irregular Cavalry throughout the Mutinies in Oudh in 1857 and 1858. He was mentioned for his untiring and extreme devotion and for his great skill in the despatches of Brigadier Inglis, Commanding the Garrison at Lucknow and received the thanks of the Government (Despatches London Gazette 16 January 1858; medal with two claps). He was the author of a variety of Medical books including "Notes Medical and Surgical, taken during the late Siege of Lucknow", and several novels including The Bow of Fate, 1893; The Tower of Ghilzean, 1896; Brenda's Experiment, 1896; Amy Vivian's Ring, 1897; The Emperor's Design, 1901; and Leila's Lovers, 1902. Greenhow was recognised as an excellent surgeon and as such Sir Dermot Daly was keen to recruit him to join the newly raised Oude Irregular Force. Irregular surgeons not only treated the troopers and families of the regiment, they were also charged with the medical and vaccination duties for all residents of the district. For this knowledge he was given command of the Native Hospital during the siege and messed with the Engineers and Artillery. His book “Notes Medical and Surgical, taken during the late Siege of Lucknow” is a fascinating account of the conditions in which he operated. Nowhere was safe from shot or shell and his description of treatments would seem esoteric today. In the case of Cholera he wrote, “Creosote” and water to allay vomiting, I found most useful. Turpentine frictions and garters tied around the legs, relieved cramp. Congee water and dilute sulphuric acid made useful drinks”. He was also called upon to observe and treat no fewer than 40 Europeans and Eurasians. He lists no names but instead gives each case a number from which, together with their injuries and where wounded, it is possible to put names to several cases; i.e. Number 27 on the list is Lieutenant J. H. T. Farquhar, 7th Bengal Light Cavalry, ‘aged 21, wounded at Chinhut – Bullet wound of mouth, breaking jaw. Ball swallowed and after 3 weeks ball passed per anum. Recovered.’ He further enumerates the total garrison which he deduced as being 2,983 men, women, children and natives, a figure accepted today as the most accurate. Among the many copied letters that accompany the lot is an unpublished 50-page lecture written over 30 years after the siege in which he attempts to bring to a new generation his intimate knowledge of events. From the opening fears of mutiny he relates his acute recollections of the horrors of death, injuries, disease, stench and, above all, flies that shrouded the Residency like a ghastly pall of death. However, parts of his monologue are interspersed with black humour, pathos, tragedy and joy. The following are but a few of his experiences and have been paraphrased: I was stationed at Secrora, 64 miles from Lucknow, where 6 or 8 European Officers were in charge of 1,500 native troops. All was quiet until the fall of Delhi when the demeanour of the men was visibly felt. Saving the women and children was the first priority but it was only when 50 Sikh Oudh Cavalrymen arrived from Lucknow commanding them to enter the residency that we made any move. Marching at night the anxiety became more intense as the men now took no pains to conceal their mutinous spirit singing blood-thirsty songs awaiting their opportunity to revolt. We halted when one of the Sepoys came up to me and clasping my knee said, “Sir, not one of you will escape to Lucknow; we shall kill you all.” With that he raised his loaded musket to his shoulder and took deliberate aim at the commanding officer's wife sitting on top of an elephant only for a Native Sergeant to take away his weapon saying quietly “Not now. Not now.” My revolver was ready to shoot the man but I did not fire as a shot at that moment would have brought catastrophe to the party... The enemy surrounding the Residency were, in places, o...

A set of 3 George III silver spirit decanter labels, comprising Gin, Rum and Brandy, by Joseph Willmore, hallmarks Birmingham 1810, width 3.5cm, and an unmarked white metal Violette label (4)

An Edwardian silver spirit kettle burner stand, with silver plated burner, by The Alexander Clark Manufacturing Co, hallmarks Birmingham 1906, length 16cm, height 11cm, 12.8oz weighable

An Edwardian silver spirit kettle on stand, Goldsmiths and Silversmiths Co Ltd, London 1901, of oval panelled form, 23cm long, 1149g (36.9 troy ozs) gross

A large Chinese silver spirit flask decorated in Chinese imagery.

A SILVER PLATED SPIRIT KETTLE ON A TRAY

A BAR BUTLER OPTICS SPIRIT DISPENSER

A WOODEN RAKE, A WOODEN MALLET AND A SPIRIT LEVEL

AN ASSORTMENT OF TOOLS AND HARDWARE TO INCLUDE SPIRIT LEVELS, TORCHES AND PADLOCKS ETC

Small gilt ceramic stagecoach decanter with royal crown stopper and gilt horse, surrounded by six miniature spirit/liqueur cups with handles. (B.P. 21% + VAT)

Two boxes of assorted alcohol miniatures, boxed, to include: a set of three 'The Balvenie' 12 year malt whisky, boxed miniature Macallan, Jura, Imperial, three year old St Andrew's Scotch whisky selection in miniature barrels. Spirit of Wales Collection. Simulated video tape box entitled ' Che Fai al Gorki Bar' containing eight scotch whisky miniatures. Tin containing six Gonzalez Byass sherry miniatures. Dimple scotch whisky etc. (B.P. 21% + VAT)

CASED PARKSIDE LASER TYPE SPIRIT LEVEL, NOT SURE IF COMPLETE & A ELUM FF80 SURFACE & RABBET PLANE

New Marksman 36 inch spirit level. P&P Group 3 (£25+VAT for the first lot and £5+VAT for subsequent lots)

A collection of 18th century and later pewter, to include a jardinere, indistinctly stamped, 13cm high, assorted plates and chargers, the majority with touch marks, a French demi litre spirit tankard, further tankards and egg cups (Qty)

An Arts & Crafts copper and brass spirit kettle and stand, with embossed body on trefoil base, 30cm high overall

Hamed Abdalla (Egypt, 1917-1985)The Family (A'elah) oil on panelsigned (lower right), titled and inscribed 'no. 23' on the verso, executed circa early 1950s81.5 x 100cm (32 1/16 x 39 3/8in).Footnotes:Provenance:Property from a private collection, ParisExhibited:Paris, Galerie Marcel Bernheim, March 1956'I aim at painting people for the people'. -Hamed Abdalla, quoted in Wall Street International, 2018Bonhams is honoured to present this lot by a prolific figure in Egyptian Modernism and the pioneer of the creative word, Hamed Abdullah. This painting Family was executed in the early 1950s, during the establishment of Nasser's government, where the working-class conditions were a key subject of concern in both cultural and political fields. Following the demand for a land reform, many farmers moved to the city to benefit from the economic boom. However, the development of urbanisation often obstructed agriculture, thus limiting their sources of income. The Egyptian Revolution of 1952 was a period of profound political, economic and societal change in Egypt that began on 23 July 1952 with the toppling of King Farouk in a coup d'etat.This empathetic and stylized representations of Egyptian daily life is pronounced so touchingly in the present work. Tender and ennobling in its portrayal of the dignified Egyptian working class family, the present work is evidence of an artist who captures the true spirit of the age in his penetrative renderings of the Egyptians and their everyday plight in the twentieth century. In Abdalla's work, the farmer and his family's freedom depend on their land, yet constantly threatened to see his land seized. He was a self-taught artist from a modest peasant family of upper Egypt who gained recognition early in his life for this artist talent. At the age of 24 he had his first solo exhibition and from there showcased his works all over Egypt and was honoured a solo exhibition at the Museum of Egyptian Art in Cairo in 1949. Over the next decade he showcased his works worldwide and in 1956 he participated in a group exhibition at the Metropolitan Museum of Art in New York. He left Egypt to Denmark in 1956 and then moved to France in 1966.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

Gazbia Sirry (Egypt, born 1925)Flowers oil on panel, framedsigned 'Gazbia' in Arabic and English (lower left), executed circa 1990's58 x 58cm (22 13/16 x 22 13/16in).Footnotes:Provenance:Property from a private collection, GizaAcquired directly from the Artist in the late 1990sGazbia Sirry is one of the many accomplished women artists who have made a mark in the Egyptian arts throughout the twentieth century. She stood out for her dedication to the individual freedom of the Arab woman through her fighting spirit.Sirry's ardent enthusiasm for innovation and her openness to international influences made her a vital contributor to the Contemporary Art Group in Cairo. A prolific painter, she has experimented with a range of styles. Her early works resembled illustrations inspired by children's colouring books. But she soon shifted to an Expressionist style in which her use of heavy impasto, quickly applied and violently scratched, explored a thematic revolving around the artist herself or groups of individuals and couples.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

Dia Azzawi (Iraq, born 1939)The Seven Golden Odes (The Mu'allaqat) silkscreen print in eight parts in original folio and caseeach print signed 'Dia Azzawi', titled and dated '1978' in Arabic, each print numbered 43/60, executed in 1978Each print: 103 x 72 cm (8)Footnotes:Provenance:Property from the collection of Alecto Editions1. Introduction2. Mu'allaqat Imru Al Qayess3. Mu'allaqat Lubid Ibn Rabia4. Mu'allaqat Tarafa Ibn Al Abd5. Zuhair Bin Abi Sulma6. Mu'allaqat Antarra Ibn Shaddad7. Mu'allaqat Amr Ibn Kalthoum8. Mu'allaqat Al Hareth ben Halza'Oh you long night! Will you not yield to the dawn?Though daylight, like the night.. bears its share of worriesWhat an interminable night you are! As if the stars were bound to the mountains by the tightest of chords... or as though the Pleiades were hung, unmoving in their place by ropes tied to solid rock'- Muallaqat IA HIGHLY SOUGHT AFTER AND INTACT FULL SET OF DIA AZZAWI'S MU'ALLAQATSpectacularly detailed, rich and intricately worked, Bonhams presents a rare, intact and unopened full set of Dia Azzawi's famed Muallaqat prints; a homage to a group of seven long Arabic poems that are considered some of the defining literary works of the pre-Islamic era. The name means The Suspended Odes or The Hanging Poems, the traditional explanation being that these poems were hung on or in the Ka'ba at Mecca. The name Mu'allaqāt has also been explained figuratively, as if the poems 'hang' in the reader's mind.The Hanging OdesIn the eighth century, Hammad al-Rawiya—Iraq's last reciter of tribal poetry—compiled these timeless Hanging Odes. Hammad al-Rawiya, last of the true rawis or reciters of tribal poetry, was renowned among the newly urbanized Arabs of Damascus and Baghdad for declaiming poems he had heard recited by the Bedouin of the Arabian heartland. In the latter half of the eighth century he put together a collection of seven remarkable poems known collectively as the Mu'allaqat, or Hanging Odes.The Hanging Odes have always been shrouded in mystery. Legend tells that in the sixth century, some years before the rise of Islam, the poems were transcribed in letters of gold on the finest Egyptian linen and suspended from the Ka'ba in Mecca as trophies during the Sacred Months of Peace, when the Bedouin laid down their arms and went on their annual pilgrimage to the fairgrounds of 'Ukaz, near Mecca. Rival clans mingled in the marketplace, and, when not feasting or buying and selling wares, gathered round as the rawis swayed and pitched their lines to the rapt audience.The image of pagan poetry hung from the holy shrine of the Ka'ba serves to bind the ancient world of desert lore to Islam, and the poets themselves — Imru al-Qays ('the Vagabond Prince'), Tarafa ('the One the Gods Loved'), Zuhair ('the Moralist'), Labid ('the Man with the Crooked Staff'), Antara ('the Black Knight'), Amr Ibn Kulthum ('the Regicide'), and Harith ('the Leper') — have passed into legend, each lapped in a vast oral tradition.The Mu'allaqat are the most famous — and among the earliest — examples of the qasida (commonly translated as 'ode'), a form that frequently runs to some hundred and twenty lines. The term may derive from the root qasada, meaning 'to aim' or 'go forward,' or else from qasar, 'to break,' in reference to the mandatory division of the line into two rhythmically equal halves — a binary thrust and parry not unlike the alliterative line in Anglo-Saxon verse.The seven Mu'allaqat, and also the poems appended to them cover a vast array of topics. Tarafa's long, for example, anatomically exact description of his camel was a charming representation of the importance of this domesticated beast in the daily life of the Bedouins. In the Mu'allaqat of 'Amr and Harith we can read the haughty spirit of the powerful chieftains, boastfully celebrating the splendors of their tribe. The other poems are fairly typical examples of the customary qasida, the long poem of ancient Arabia, and bring before us the various phases of Bedouin life. In the Mu'allaqat of 'Antara, whose heroic temperament had overcome the scorn with which the son of a black slave-mother was regarded by the Bedouins.Azzawi's illustrated depiction of the Muallaqat is one of the most vibrant and richly composed examples of the artist's fascination with Iraq and the Arab world's pre-Islamic history and its influence on contemporary visual culture.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

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Self-portrait", 1948Watercolour on paper.Unsigned.Frame with faults.Size: 21,5 x 15,5 cm; 36,5 x 30,5 cm (frame).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 Dau al Set disbanded, 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.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Suite deliri", 1948.Pastel and ink on paper.Signed and dated on the back.Work referenced in the artist's online catalogue (Associació Joan Ponç) with number 3612.Size: 35 x 49,5 cm; 47 x 62,5 cm (frame).In the metaphysical landscape unfolded in "Suite deliri", Joan Ponç's automatic drawing offers us a nocturnal and magical journey into the interior of his mind. 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.

JOAN PONÇ BONET (Barcelona, 1927 - Saint-Paul, France, 1984)."Suite deliri", 1948.Pastel and ink on paper.Signed and dated on the back.Work referenced in the artist's online catalogue (Associació Joan Ponç) with number 0383.Size: 35 x 50 cm; 47,5 x 62,5 cm (frame).Joan Ponç's "Suite deliri" brings together several metaphysical landscapes inhabited by naked women and hybrid creatures. We see the inside of the bodies, their supple skeletons or their muscular structure, as if we were provided with a delirious x-ray vision. Here, Ponç's automatic drawing offers us a nocturnal and magical journey into the interior of his mind. 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.

Antique spirit flask of typical form, one side heavily embossed with flowers and leaves etc, the verso engraved with monogram, having a plain polished lancet fitting lid, marked beneath sterling, 13 x 8cm overall, 126gms

Mixed group of spirit labels comprising a pair of George III curved rectangular labels 'Sherry' and 'Port', stamped with lion passant duty monarch's head and each with the maker's marks for Hester Bateman, 5cm long x 1cm wide, with suspending chains, an Edward VII kidney shaped label 'Port', Chester 1909 by S Blanckensee & Son Ltd (a/f), together with a pair of George V circular labels 'Brandy' and 'Sherry', 3cm diam, with suspending chains, Chester 1911/12 by Sampson Mordan & Co Ltd (5)

George V spirit flask of rectangular form with rounded corners, the upper portion of the glass body with a crocodile skin covering. The push fit drinking cup with gilt interior, the lid a bayonet fitting, Sheffield 1913, maker's mark James Dixon & Sons Ltd, 12 x 7cm overall

Mixed Lot: Edward VII silver sauce boat, Chester 1905, maker's marks for Stokes & Ireland Ltd; a George V tea strainer and stand, Birmingham 1926, G W Lewis & Co; a small spirit flask of square shape with engraved monogram and screw on lid, marks rubbed; a silver square ashtray, Birmingham 1956, Charles Green & Co Ltd; a hallmarked silver egg cup with castellated border, loaded base, Birmingham 1931, together with two silver napkin rings, g/w 300gms (8)

Pair of late Victorian silver and glass spirit decanters, the oval shaped glass bodies with diamond and acid cut bands, having drum shaped cut glass stoppers, the silver mounts hallmarked London 1894, 19cm tall, together with three 3 925 marked spirit labels, 'Gin', 'Brandy' and 'Scotch'

A collection of seven stoneware flagons,early 20th century, comprising examples stamped ‘2G’, ‘A.N.C.S.L. 1 GAL’, ‘W. TONKINS STOKE BY NAYLAND’, ‘JAMES SHOOLBRED & Co. TOTTENHAM HOUSE TOTTENHAM COURT RD’, ‘GREENE KING & SONS Ltd BOCKING’, WOLTON & ATTWOOD WINE & SPIRIT MERCHANTS COLCHESTER’, and a jug impressed ‘G.P.O.’, tallest 37cm (7)Some chips and losses. Overall good order.

A collection of stoneware flagons, early 20th century, comprising examples stamped ‘GREENE KING & SONS LIMITED HAVERHILL’, a large bottle impressed ‘134 1 GALL’, ‘CYRIL. C. TUCK VINE & SPIRIT MERCHANT STOWMARKET’, B.BENNETT … DUNSTABLE’, ‘SAMS & o LATE SLFE & PIKE 121 BOROUGH’, ‘GARDENER & SON WINE & SPIRIT MERCHANTS LITTLE COGGESHALL’, ‘MOOT & Co. Ltd. LEICESTER’ tallest 41cm high, together with a green Viresa glass carboy, 35cm high (8)Some chips and losses. Overall good order.There are no chips or cracks

A collection of carved polychrome Balinese masksearly 20th century, Bali, comprising a stylised wild boar example, 17cm wide, 21cm deep, 20cm high, an evil spirit mask with fibre moustache, 13cm wide, a painted mask of a princess, 16.5cm hightogether with a Javanese dance mask,early 20th century, Java, 14.5cm highand a Balinese carving of a man riding a dragon,in four parts, 20cm long17cm high (5)Tusk repaired to boar mask, with splits knocks and wear throughout. Pin repair to the right cheek of the evil spirit mask, with a section chipped to the other cheek.Minor losses to the carved figure.Losses to paint and surface wear throughout.

A carved and polychrome slit drum,early 20th century, Bali, decorated with a stylised spirit head, above a plain column,167cm highWear commensurate with the nature of the item. Splits and knocks to the top. Holes behind each ear. Losses to the pain.

A collection of metalware items,to include a large Turkish or far Easter coffee pot, 46cm high, a large French copper spirit kettle on stand, 36cm high, a pair of Old Sheffield plate wine coasters, 14.5cm diameter, a pewter capstan inkwell and three pewter condiment castors, a copper range kettle and a brass kettle, a large brass and copper jug, two pairs of wall lights, five iron stands and a wine bottle carrier (19)Capstan ink well has lost the hinged lidExpected knocks to copper and brassPewter condiment castors are dented

A Collection of Vintage Tools, Spirit Level etc

A Collection of Garden Tools, Spirit Level, Garden Parasols etc

17th century A.D. An Orthodox wooden icon with a slightly curved profile, polychrome painted scene depicting the Holy Trinity with Jesus Christ to the left, God the Father to the right and the Holy Spirit above them depicted as a dove; both figures nimbate, dressed in gold and brocade, their hands resting on a large globus cruciger, a jewelled Gospel beneath the hand of Christ; each corner with a symbol of the Evangelists: angel, ox, eagle and lion with Greek inscriptions around them: near the nimbus of Jesus the Greek letters 'IC' (Iesus) 'XC' (Christos), inside the halo three letters representing the continuous divine self-existence of Christ as God (O ?N = The Only One who always exists); above the head of the dove an abbreviated Greek inscription for '? ???? ??????' (The Holy Trinity). See Rothemund, B., Handbuch der Ikonenkunst, Munich 1966, p.204, for the well consolidated icon of the New Testament Holy Trinity; Chatzidakis, N. (ed.), Da Candia a Venezia: Icone Greche in Italia, XV-XVI secolo, Athens, 1993, p.185, cat.47; Staikos, K. (ed.), ‘The Holy Trinity’ in From the Incarnation of Logos to the Theosis of Man: Byzantine and Post-Byzantine Icons From Greece, Psychiko, 2008, p.50, cat.no.22. 2.1 kg, 44 x 32 cm (17 1/4 x 12 1/2 in). Charterhouse auctioneers, Sherborne, Dorset, UK. Ian Wilkinson collection, Nottinghamshire, UK, formed since 1985. The New Testament Trinity derives from two Biblical passages: Mark 16:19 and Luke 22:69. The latter reads: 'But from now on the Son of Man shall be seated at the right hand of the power of God' (Luke 22:69). Our icon illustrates this Biblical phrase in a literal sense. The icon shows in an impressive way the Orthodox iconography of the Holy Trinity, and the power of God. The Trinity is seated upon a throne of Cherubins, whose red faces are visible on the background. The globe, symbol of God’s power upon the world and the universe, is surmounted by a cross, like the small globes visible in the hands of the earthly medieval emperors. The blessing gesture of the left hand of the Father represents a sort of Divine Investiture of the Son (three raised fingers representing the Divine Nature of Christ, two lowered fingers representing the Human Nature of the Incarnation). The gold and brocade mantles and tunics are an echo of the oriental silk used in the Levant and Ottoman Empire during that period. The timber to the reverse shows some old insect flight holes and we are advised that this piece has been recently treated with Permthrin, as a precaution. Fair condition.

Vintage WWI and Later Military and Civil Aircraft Kits, a boxed collection mainly 1:72 scale, Lincoln International 110 Bristol Helicopter, Testors 405 Hawk, FROG 341P Proctor IV, F166 Spirit of St Louis, 332P English Electric P.I. F335 Oxford (inscribed on box 2 Kits complete), 321P F86 Sabre (appears to contain multiple examples), Revell H123 Starfire, H184 Caravelle, H111 B26 Marauder, H258 Sikorsky Skycrane, UPC 5065-100 Martin Bomber 1:50 scale and Heller 260 Saab J 29, 071 Ba 349 Natter/ Fiesler FI 103, 101 Me BF 109, L099 Polikarpov, 077 Me BF 108, 088 Spitfire (writing on box), 030 Vautour, 015 Trident, and Starfix Israel 1:200 scale 114 Tupolev TU-16, all appear complete but unchecked, G-E, boxes F-G, (21)

1990s and Later Comics, various examples, Wild Storm, Crimson (19), Mostly Wanted (4), Death Blow (3), Countdown (8), DV8 (8), Gen 13 (22), Gen Active (2), Jezebelle (3), Cybernary 2.0 (2), Promethea, The Authority, Voodoo, Planetary, Wetworks, Dark Horse Comics, Wizard of 4th St (2), Red Blade (3), White Like She (4), Silke (4), Oni (2), Next Men (3), Ghost (6), Outlanders (2), Eudaemon (3), The Tenth (5), Species (4), The Thing (2), Star Wars Dark Empire (4), Hellboy No 1 Seed of Destruction 1994 (G), Out For Blood (2), Jonny Demon (3), Babe (2) and thirteen odd single issues various titles includes one shots, Antarctic Press, Warrior Nun (6), Warrior Nun Areola (11), Shot Gun Mary (2), Lillith (2), Renaissance Comics Raven (4), Caliber Press The Scary Book (2),Beck & Caul (2) Lori Lovecraft (3), Sirens (2), Demon Storm, Inferno, Temptress, Knight Press, Blood & Roses (4), Top Cow Comics, Nine Volt (4), Witchblade (6), Soul Saga (3), Blood Legacy (2), Weapon Zero (5), The Darkness (11), Spirit of Tao (3), Rising Stars (2), Ascension (5) and five odd single issues various titles, many bagged, some with old price labels, F-E, (220+)

A Ruddspeed chromium plated spirit decanter or flask modelled as a classic vintage Jaguar car radiator, with radiator cap style screw stopper, height 22.5cm and width 12cm

A Ruddspeed chromium plated spirit flask modelled as a classic vintage Rolls Royce car radiator, with Spirit of Ecstasy radiator cap style screw stopper, stamped no. 910435 to the reverse, height 22.5cm and width 12cm

A silver plated spirit kettle

Quantity of copper, including a spirit kettle on a wrought iron stand, bugle, etc.

Collection of whisky and spirit gift sets by St Michael/ Marks & Spencer including, seven whisky gift sets, three cognac/ brandy gift sets, one vodka set, etc.Qty: 1 box

Nine assorted bottles of spirits inc vodkas and wine spirit.

MINIATURE SPIRIT & EARLY BOTTLE OF BENEDICTINE

SILVER PLATED SPIRIT DECANTER STAND AND TWO DECANTERS

A Spirit of Ecstasy on graduated granite base

A box containing various tools to include hand tools, spirit level, first aid box etc.

A silver plated spirit kettle.

A COLLECTION OF TOOLS to include a bucket of hand tools, saws, hand drill, hand screwdrivers, two Hockley abbey spirit levels an 8 inch and a 6 inch, Stanley No220, More and Wright micrometre and a Black and Decker heat gun (PAT pass and working)

ELEVEN BESWICK AND ROYAL DOULTON HORSE FIGURES, comprising Royal Doulton The Winner DA154B/2 on naturalistic base, Spirit of Freedom (repaired front right leg) DA58A, Springtime DA69, Spirit of Peace DA63, Spirit of Fire DA60, Spirit of Affection DA64 (sd to base), Spirit of the Wild DA183, the latter five figures having wooden bases, with Beswick Black Beauty 2466, Shetland Pony 1033, Shetland Foal 1034, and Mare (Facing Right, Head Up) 1991 (Condition report: figures appear in generally good condition and as stated, dirty, Spirit of Fire detached from base) (11)

Francis Philip Goodchild (1904-1997), pastel, 'Spirit of the Dartmoor Moon', signed and dated 1972, 40 x 75cm

A Rolls-Royce nickel spirit of ecstasy mascot, believed to suit 20hp.

A Rolls-Royce spirit of ecstasy mascot, appears newly cast and not finished.

A William IV mercury wheel barometer c1830 with an inlaid broken pediment, brass finial and round base, mahogany veneered case with inlaid oval conch shell paterae and satinwood stringing to the edge, with a spirit thermometer, eight-inch silvered register reading barometric pressure in inches from 28 to 31, dial inscribed �I VERA, WARRENTED�, with a bevelled glass within a cast brass bezel, steel indicating hand and brass recording hand.Dimensions: Height: 97cm 

A 19th century four instrument mercury wheel barometer in a mahogany case with a swans neck pediment, 8” silvered register within a cast brass bezel and convex glass, recording atmospheric air pressure from 28 to 31 inches with weather predictions, brass recording hand and a steel indicating hand, spirit thermometer measuring temperature in degrees Fahrenheit within a round topped long box, circular hygrometer and spirit bubble.C

Nildo Martins (Brazilian 1948-): Spirit of Florianopolis, oil on board signed 17cm x 45cm

Arts & Crafts brass and copper spirit kettle with naturalistic four footed stand, the kettle marked to base 'Ges. Oesch', 120cm high

A collection of 18th/19thC tools, tap & die set with shoes and spirit level. Originally belonging to a cobbler.

Vintage tools to include brass/wooden spirit levels, barrel etc.

Silver thimble spirit measure 'Just a Thimbleful'. 1948, maker Charles Horner 5.5cm h, weight 39gm.