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

Two Kevin Francis limited edition figures, Dancing Nymph and Free Spirit, tallest 27cm.

A Shell petrol can by Valor, dated 2/1937 and another Shell Motor Spirit dated 4/1937 (2).

A coopered wood and metal-bound spirit barrel, 22cm x 15cm, three Victorian wood food measures: gallon, quart and half-pint and other items.

Pop / Rock 7" Singles, eight singles of mainly Seventies Pop and Rock comprising Big Star - Jesus Christ, Abba - Happy New Year (Portuguese), Betty Lavette - Your Turn to Cry, Thin Lizzy - Randolph's Tango, Denroy Morgan - Happy Feeling, The Three Wise Men - Thanks For Christmas, Brain Eno - The Jezebel Spirit and Akabu - Life in the Ghetto - mainly all in Excellent condition`

Three Bohemian etched glass spirit decanters, Mary Gregory glass beaker and other glassware.

Collection of glassware to include four cut glass decanters, Bohemian overlaid glass spirit decanter and licquer glasses and other glassware.

Slip ware dishes, antique glass bottles, salt glazed bottles and spirit barrel

Three silver spirit labels, wristwatches, two shooting trophies and stag related items

A bronze sculpture of the Spirit of Estacy (Silver Lady / Emily) after a design by Charles Sykes, based on actress and fashion Eleanor Thornton (1880-1915). Executed lateÊ20th century.H.: 80 cm. incl. sokkel.

MINIATURE SPIRIT & EARLY BOTTLE OF BENEDICTINE

HM SILVER SPIRIT KETTLE - APPROX 50 IMPERIAL OUNCES - 34CMS APPROX

A Stuart Models live steam stationary steam plant. A well constructed model in brass, cast iron, etc. Boiler fitted with water sight glass, pressure gauge, safety valve, whistle, etc. With a separate home made gas burner (sitting under boiler instead of the standard spirit burner). 2x hardwood-clad water tanks, hand pump and 2x single cylinder steam engines; a substantial horizontal engine (flywheel approx 130mm). Smaller vertical engine (flywheel approx 80mm). All mounted on a tiled plinth with hardwood edging and fitted drawer containing drain, dimensions approx 520mm x 520mm. VGC, motions turn freely, however horizontal engine motion requires adjustment. Sold as collector's item only. £600-800

Cut glass tableware including spirit decanter, 24cm

"The Art and Spirit of Paris" volume 1 and 2 hard back set

Pratts Spirit double sided wall mounting enamel advertising sign. Approx. 46 x 53cm Used condition, wear to enamel

Petroleum Spirit vintage aluminium advertising sign. Approx. 35.5cms x 35.5cms Used condition, wear to sign

BP Motor Spirit double sided wall mounting enamel advertising sign. Approx. 41 x 61cm Used condition, wear to enamel

A selection of cocktail wine and spirit glasses including cut glass decanters and serving tray

Ca. 100-300 ADAn oval shaped intaglio with a genius presiding spirit that brings good fortune. He is carrying a cornucopia and the hand is outstretched to make an offering.Henig M. & MacGregor A.; Catalogue of the Engraved Gems and Finger Rings in the Ashmolean Museum.Size: L:18mm / W:11mm; 1.05gProvenance: Property of a London Gentleman; formerly in a private UK collection formed in the the 1990s.

Ca. 1400 ADA silver ring of a round, flat-section band with incised shoulders expanding to a bezel with a depiction of a creature/spirit of mythological importance.Size: D: 19.84mm / US: 10 / UK: T 1/2; 6.75gProvenance: Private UK collection; From an old Oxford collection formed in the 1990s.

A GENTLEMAN'S 18K SOLID ROSE GOLD PIERRE KUNZ GRANDE RETROGRADE WRIST WATCHCIRCA 2000s, REF. PKA004 HMRL, WITH "COIN EDGE" CASE Movement: Automatic, ETA cal, PK 2001, signed Pierre Kunz Geneve, Spirit of Challenge, numbered.Case: Diameter approx. 41mm, exhibition case back, signed Pierre Kunz Geneve, 18k hallmarks, numbered, original PK crown.Strap: Pierre Kunz leather strap & 18k solid gold pin buckle.CONDITION REPORTDial: Original dial in excellent condition.Movement: Running & functioning at present, timekeeping and accuracy cannot be guaranteed.Case: In very good condition, with some scratches and wear due to general use.Strap/Bracelet: In fair condition.

Ca. 202BC - 220AD An earthenware rooster with many traces of the original polychromy. The colourful bird is standing on its original bronze legs. Rendered in an alert, standing pose with an erect neck, the animal looks straight ahead with delineated wings folded to its abdomen with stylized feathers and presents an overall bold silhouette. This rooster is mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty.H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:140mm / W:147mm ; 320g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Ca. 202BC - 220AD An earthenware hen with colourful original polychromy. The bird standing on its bronze legs and is in a position of searching for seed.This hen is a mingqi, 'spirit goods' belonging to the burial rituals in the Chinese Han Dynasty. High-ranking persons were buried with various everyday objects; it was believed that life after death was a continuation of the present life, and therefore the deceased was provided with all the objects necessary to continue living after death. H.C. Clydesdale, "The Vibrant Role of Mingqi in Early Chinese Burials", Heilbrunn Timeline of Art History, The Metropolitan Museum of Art, New York 2000.This piece has been precisely dated by means of a Thermo Luminescence analysis carried out by Ralf Kotalla, an independent German Laboratory. The samples collected date the piece to the period reflected in its style, whilst also showing no modern trace elements. The TL certificate with its full report will accompany this lot. Size: L:130mm / W:200mm ; 430g Provenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong.

Beswick Black Beauty and Foal, Spirit of Freedom, Beswick Palomino and another horse

Beswick Spirit of Earth and Spirit of Peace

A Rolls-Royce Chrome Plated Silver Shadow 'Spirit of Ecstasy' Car Mascot, the base stamped Rolls-Royce Motors Limited, mounted on a polished black base with Rolls-Royce enamelled badge, 11cm high

Petroleum-Spirit Highly Inflammable No Smoking or Naked Lights Switch Off Engine When Filling: A Single-Sided Enamel Advertising Sign, Petroleum (Regulation) Acts 1928 and 1936, 38cm by 79cm

Two Boxes of Automobilia, to include: A Shell Motor Spirit fuel can repainted green, two vintage redex dispensers, a green painted oil jug, a Benton & Stone red painted oil can, a pair of chromed metal registration plate holders, a three-spoke steering wheel, a small oil can, etc

Early 20th century Epns spirit kettle on stand, teapot and sucrier, (3)

A reproduction chromed figure of the Spirit of Ecstacy mascot on stepped square plinth, height 13cm

English Fairy Tales, Retold By Flora Annie Steel, Illustrated By Arthur Rackham, Macmillan & Co. Ltd, St Martins Street, London, 1918, with coloured illustrations, red cloth boards and gilt title, 8vo, together with various other books to include De Cassagnac, Paul: French Wines, London, Chatto & Windus 1930, Claret And Sauternes, Classed Growths Of The Medoc And Other Famous Red And White Wines Of The Gironde. London: The Wine And Spirit Trade Record, 1920 and Langenbach, Alfred: German Wines and Vines, Vista Books, London, 1962. etc.

Assorted items including a Squirrel shaped nutcracker, spirit flasks, Cunard matches, travel inkwell, cufflinks, etc.

Spreizenkamera Svensson Stella, um 1905 Hugo Svensson & Co, Göteborg, Kamerafabrik. Nr. 11071, seltene Spreizenkamera "Stella" für Platten 9 x 12 cm, ungewöhnliches Design aus Holz und Leder, 4 Lochblenden f/11 bis f/32, Guillotine-Verschluß mit 6 Zeiteinstellungen, Fokusierung durch frontseitig bewegbaren Zylinderstift, 2 Brillantsucher und 2 Wasserwaagen für Hoch- und Querformat. Sehr selten. Start Price: EUR 80 Zustand: (3-/3)Svensson Folding Camera Stella, c. 1905 Hugo Svensson & Co, Göteborg, Kamerafabrik. No. 11071, rare folding camera "Stella" with an interesting design in wood and leather, for 9 x 12 cm plate-holders, 4 diaphragm settings (f/11 to f/32) and 6-speed guillotine shutter, focusing by moving a cylinder in the front plate, 2 brilliant finders and 2 spirit levels for wide and vertical formats. Very rare. Start Price: EUR 80 Condition: (3-/3)

2 Heißluftmotoren IRC, Ingenieur Reichelt, Chemnitz. Jeweils mit ineinander gelagerten Arbeits- und Verdrängungszylindern, hergestellt aus Messing, Gußmetall und poliertem Stahl. 1) Spiritusbrenner, Schwungrad Ø 17 cm, Höhe 30 cm, Arbeitszylinder sitzt fest. – Und: 2) Esbit-Brenner, Schwungrad Ø 10 cm, Höhe 30 cm, funktioniert, mit Anleitung. Start Price: EUR 180 Zustand: (2-3/-)2 Hot-Air Engines IRC, Ingenieur Reichelt, Chemnitz. Brass, cast iron and polished steel, with power piston and displacer within the cylinder. 1) Spirit burner, 6 ¾-inch flywheel, height 11 ¾ in., power piston stuck. – And: 2) Esbit burner, 4-inch flywheel, height 11 ¾ in., working, with manual. Start Price: EUR 180 Condition: (2-3/-)

Einzylinder-Dampfmaschine mit stehendem Kessel, um 1898 A. Franks, Optician and Electrician, Deansgate, Manchester. Messingkessel, Höhe 33,5 cm, Ø 10 cm, für Spiritusheizung, mit Wasserstandglas, Dampfpfeife, Ablaßhahn und Sicherheitsventil (ohne Gewicht), seitlich liegende Dampfmaschine, Zylinder Ø 2,5 cm, Kreuzkopfführung in Gleitlagern, Schiebersteuerung, Geschwindigkeitsregler, Schwungrad mit Riemenscheibe, Ø 10 cm, auf Gußsockel und Holzfundament, Gesamtmaße 23 x 28 x 44 cm. Start Price: EUR 450 Zustand: (3/3)Single-Cylinder Steam Engine with Vertical Boiler, c. 1898 A. Franks, Optician and Electrician, Deansgate, Manchester. Spirit-heated brass boiler, height 14 in., Ø 4 in., with water level glass, steam whistle, drain cock and safety valve (without weight), side-mounted steam engine, cylinder Ø 1 in., crosshead guide in tubular bearings, slide-valve control, speed regulator, flywheel with pulley, Ø 4 in., on cast-iron base and wood plinth, overall dimensions 9 x 11 x 18 ½ in. Start Price: EUR 450 Condition: (3/3)

Studiokamera mit Stativ, um 1920 Unbezeichnet. Edelholz mit vernickelten Beschlägen, Wechselschlitten-Rückteil für Format 16 x 16 cm, mit Mattscheiben-Rückteil. Auszug von 41 cm, nachträglich versehen mit Kenngott Paris Amateur Aplanat 8/22 cm, Kurbelstativ für 90–116 cm Höhe. Einige Schrauben erneuert, sonst gut erhalten. – Eine im Sinne der Neuen Sachlichkeit gestaltete Version einer Studiokamera für engagierte Amateure der 20er Jahre. Start Price: EUR 280 Zustand: (3/3)Studio Camera with Tripod, c. 1920 Unmarked, hardwood with nickel-plated fittings, slide back for 16 x 16 cm format, with focusing screen back, extension of 41 cm, with associated Kenngott Paris Amateur Aplanat 8/22 cm lens, on crank-adjusted tripod for heights of 90–116 cm, some screws renewed, otherwise in good condition. – A studio camera designed in the spirit of the New Objectivity for dedicated amateurs of the 1920s. Start Price: EUR 280 Condition: (3/3)

Dampfmaschinen-Anlage unter Verwendung von Stuart-Bauteilen Liegende Einzylinder-Dampfmaschine, Kreuzkopfführung, Schiebersteuerung mit Exzenterring, Zylinder Ø 3,7 cm, Schwungrad Ø 17,5 cm, Riemenscheibe, 4-Volt-Dynamo, 2 Lampen, 2-Kolben-Wasserpumpe für Riemenantrieb, mit Herstellerplakette "Engineer R. Stock, Loughborough", Kessel No. 504 von Stuart Turner, mit Manometer, Wasserstandglas und Spiritusbrenner, manuelle Speisepumpe, gemeinsam auf Holzbrett, 58,5 x 53 cm. Start Price: EUR 650 Zustand: (3/-)Steam Engine Plant using Stuart Components Horizontal single-cylinder steam engine, crosshead guide, slide valve control with eccentric ring, cylinder Ø 1 ½ in., flywheel Ø 6 7/8 in., pulley, 4-volt dynamo, 2 lamps, belt-driven two-piston water pump, with maker's plate "Engineer R. Stock, Loughborough", boiler No. 504 by Stuart Turner, with manometer, water-level glass and spirit burner, manual feed pump, on wood board, 23 x 20 7/8 in. Start Price: EUR 650 Condition: (3/-)

2 Modell-Echtdampflokomotiven 1) Aster Baldwin B1, Tenderlokomotive, werkseitig gebautes Modell einer industriellen 0-B-1-Lokomotive von 1907 im Maßstab 1:22, mit Spiritus befeuert, 2 Außenzylinder, unbefeuert, Länge 29 cm. – Und: 2) Mamod, 2 Achsen, 2 oszillierende Zylinder, Dampfpfeife, unbefeuerter Zustand, fehlender Brenner, Länge 22 cm. Start Price: EUR 350 Zustand: (2-3/-)2 Live Steam Model Locomotives 1) Aster Baldwin B1 rear tank locomotive, factory-built 1:22 scale gauge I model of an industrial 0-4-2 tank engine of 1907, spirit-fired, 2 outer cylinders, unfired condition, length 11 ¾ in. – And: 2) Mamod, 2 axles, 2 oscillating cylinders, steam whistle, unfired condition, missing burner, length 8 ¾ in. Start Price: EUR 350 Condition: (2-3/-)

The Earl Spirit Berlin, Wheat Brandy.

A mixed collection of items to include: large pottery Shire Horse figures, damaged Beswick Spirit horses etc

Beswick figure Spirit of Peace:

Supaview & Marple Spirit Levels, 2 x 100cm rulers, Ralph Martindale Crocodile tool, elongated knives, etc (9).

Bavaria Brass Spirit Kettle, on wire stand 31cm high.

A Collection of Silver, comprising: a spirit-flask, oblong and engine-turned; a card case and a napkin-ring, 5oz, 155gr; Together With: a set of six silver plate knife rests (9)

German mahogany cased silver plated part table service; together with 19th century marquetry inlaid mahogany serving tray, a silver plated egg coddler with spirit burner, a crumb scoop, soup ladle, cased fish servers, cased fish knives and forks, silver plated trophy salver, set of six gold plated teaspoons

Oil on canvas, framed measurements: 74 x 75 cm, canvas measurements: 46 x 33 cm. Born in Valencia on September 19, 1772, he began his artistic training as a disciple of the Franciscan Antonio de Villanueva at the Academy of San Carlos in Valencia, an institution where he won the first class prize in 1789 with the canvas King Hezekiah showing off of his riches (Museum of Fine Arts of Valencia San Pío V), endowed with 40 pesos and a pension to study in Madrid. Already at court, the following year he won first place in the San Fernando Academy competition with the painting The Catholic Monarchs receiving an embassy from the King of Fez (San Fernando Academy, Madrid), and there he assimilated with extraordinary fidelity the academic teachings inherited from Mengs fundamentally through Mariano Salvador Maella, from whom Vicente López picks up the baroque and colorful sense of his compositions and the taste for drawing, precise and analytical, as a method of prior study of his paintings, being equally dazzled by the baroque lavishness of the frescoes by Luca Giordano and Corrado Giaquinto, that he contemplates in real places, and that will decisively influence the aesthetic language of his compositions. Returning to his hometown in 1792 as a prestigious painter, he carried out numerous commissions in those years, especially religious paintings and murals for Valencian churches, as well as portraits, monument projects and a large number of drawings to engrave, remaining in Valencia during the War of Independence, a time when, In addition to making the full-length portrait of Ferdinand VII with the habit of the order of Carlos III (Valencia City Council and Játiva Municipal Museum, Valencia), he will portray Marshal Soult and other French soldiers on several occasions. The portrait style of Vicente López, respectful and objective with his characters, captured with a personal sense of realism -inherited from the Valencian naturalist tradition, through the canvases of Ribalta and Ribera-, together with his extraordinary mastery in reproducing the qualities of the fabrics and the sumptuousness of the jewels and tinsel, made Fernando VII claim the Valencian artist at court on July 26, 1814, naming him his first court painter on March 1 of the following year. Since then he will become the most requested painter of the wealthy aristocracy and bourgeoisie of Madrid, alternating his work at the Palace with his teaching activity, official positions and his private commissions. In 1818 he painted the spectacular Allegory of the donation of the casino to Queen Isabel of Braganza by the Madrid City Council (Prado), contributing decisively in those years to the project of the Royal Museum of Paintings, appointed by the Crown to select and restore the paintings that they had to constitute it, and whose artistic direction he would assume from 1823. Three years later he made his superb portrait The painter Francisco de Goya y Lucientes (Prado), without a doubt, his best-known work and the most emblematic effigy of the Aragonese painter, bound for the gallery of contemporary artists of the Museum. Director of the decorative program of the Royal Palace of Madrid, in 1828 he painted the Allegory of the Institution of the Order of Carlos III for one of its ceilings, multiplying his portrait activity in those years. In 1831 he finished the portrait of Ferdinand VII with the habit of the Order of the Golden Fleece for the Embassy of Spain to the Holy See, perhaps the most imposing and overwhelming effigy of this monarch, while his very personal style gradually accommodated to the formal language , not to the spirit, of the thriving romanticism of the Elizabethan era. He was a draftsman until a few days before his death, when he finished the portrait of General Narváez (Museo de Bellas Artes de Valencia San Pío V), and died in Madrid on July 22, 1850. Reference Bibliography: Díez García, José Luis , Vicente Lopez (1772-1850). Life and work, Madrid,

Oil on copper, framed measurements: 53 x 45 cm, copper measurements: 14 x 11 cm. Born in Valencia on September 19, 1772, he began his artistic training as a disciple of the Franciscan Antonio de Villanueva at the Academy of San Carlos in Valencia, an institution where he won the first class prize in 1789 with the canvas King Hezekiah showing off of his riches (Museum of Fine Arts of Valencia San Pío V), endowed with 40 pesos and a pension to study in Madrid. Already at court, the following year he won first place in the San Fernando Academy competition with the painting The Catholic Monarchs receiving an embassy from the King of Fez (San Fernando Academy, Madrid), and there he assimilated with extraordinary fidelity the academic teachings inherited from Mengs fundamentally through Mariano Salvador Maella, from whom Vicente López picks up the baroque and colorful sense of his compositions and the taste for drawing, precise and analytical, as a method of prior study of his paintings, being equally dazzled by the baroque lavishness of the frescoes by Luca Giordano and Corrado Giaquinto, that he contemplates in real places, and that will decisively influence the aesthetic language of his compositions. Returning to his hometown in 1792 as a prestigious painter, he carried out numerous commissions in those years, especially religious paintings and murals for Valencian churches, as well as portraits, monument projects and a large number of drawings to engrave, remaining in Valencia during the War of Independence, a time when, In addition to making the full-length portrait of Ferdinand VII with the habit of the order of Carlos III (Valencia City Council and Játiva Municipal Museum, Valencia), he will portray Marshal Soult and other French soldiers on several occasions. The portrait style of Vicente López, respectful and objective with his characters, captured with a personal sense of realism -inherited from the Valencian naturalist tradition, through the canvases of Ribalta and Ribera-, together with his extraordinary mastery in reproducing the qualities of the fabrics and the sumptuousness of the jewels and tinsel, made Fernando VII claim the Valencian artist at court on July 26, 1814, naming him his first court painter on March 1 of the following year. Since then he will become the most requested painter of the wealthy aristocracy and bourgeoisie of Madrid, alternating his work at the Palace with his teaching activity, official positions and his private commissions. In 1818 he painted the spectacular Allegory of the donation of the casino to Queen Isabel of Braganza by the Madrid City Council (Prado), contributing decisively in those years to the project of the Royal Museum of Paintings, appointed by the Crown to select and restore the paintings that they had to constitute it, and whose artistic direction he would assume from 1823. Three years later he made his superb portrait The painter Francisco de Goya y Lucientes (Prado), without a doubt, his best-known work and the most emblematic effigy of the Aragonese painter, destined for the gallery of contemporary artists of the Museum. Director of the decorative program of the Royal Palace of Madrid, in 1828 he painted the Allegory of the Institution of the Order of Carlos III for one of its ceilings, multiplying his portrait activity in those years. In 1831 he finished the portrait of Ferdinand VII with the habit of the Order of the Golden Fleece for the Embassy of Spain to the Holy See, perhaps the most imposing and overwhelming effigy of this monarch, while his very personal style gradually accommodated to the formal language , not to the spirit, of the thriving romanticism of the Elizabethan era. He was a draftsman until a few days before his death, when he finished the portrait of General Narváez (Museo de Bellas Artes de Valencia San Pío V), and died in Madrid on July 22, 1850. Reference Bibliography: Díez García, José Luis , Vicente Lopez (1772-1850). Life and work, Madrid,

BVLGARI B.Zero 1 bracelet in stainless steel and 18kt yellow gold. Model made up of two parallel bodies, in steel, ending in a point, joined to an inner slave, in yellow gold. With outer profile decorated with the name of the firm engraved. Tongue clasp with push-lock opening. Measurements: 5.6 x 4.8 cm (inner diameter); 6.8 x 5.8 cm (outer diameter); 0.7 x 0.5 cm (bracelet thickness).The B.zero1 rigid bracelet is inspired by the Roman Colosseum, making it - according to the brand itself - a statement of Bvlgari's creative vision. It is a piece of purist design that reflects the majesty of the Eternal City, with Rome being the emblem of the collection's avant-garde and innovative spirit.

PARKER DUOFOLD FOUNTAIN PEN MANDARIN YELLOW, LIMITED EDITION.Barrel in resin with yellow lacquer.Nib in 18 Kts yellow gold, tip F.Limited edition.No box.Measurements: 13.5 cm in length; 19.3 mm in diameter.Duofold Mandarin Yellow is the reinterpretation of Parker's first iconic model, introduced in 1927. Each piece is numbered from 1 to 1088, making this edition a very exclusive item. The top of the cap features a unique stamp die-cut in solid 18k gold. The modern recreation pays tribute to the innovative spirit of George Parker, founder of the brand. Parker was an incessant traveller, and in one such journey, he found inspiration in a yellow Cloisonne vase that he had the opportunity to view and study in depth while enjoying the exoticism of Japan.The Duofold Mandarin Yellow is still considered an iconic piece of writing instruments as it was the fifth colour added to the collection after the Chinese red, black, jade green and lapis lazuli lacquer. This limited edition features the same curved lucky stripe and identical engravings as the original model.The tribute is completed by a medium solid gold nib, engraved with the brand's retro 1920s logo. Screw cap closure.

A 4in French Theodolite by Morin, Paris, French, c.1870, signed to the silvered compass face H Morin 3 Rue Boursault, a Pais' on three screw feet, horizontal circle with clamp vernier screw and double vernier scales, silvered compass, two spirit levels, telescope with rack and pinion focus, spirit level and dust cap, in original fruitwood case with Morin's trade label to inside of lid, instrument height 29cm

An Victorian Microscopist's Slide Preparation Set, c.1865-1867, by Smith Beck & Beck/R & J Beck, fitted mahogany case with lock and key, containig hand-blown bottles with ground glass cover stoppers and pontil bases, (two bearing Smith, Beck & Beck labels), matching spirit burner, ringing turntable, brass mounting table with folding legs, sprung brass and mahogany microscope slide clamp, live box, red Morocco case with gilt embossed label 'R & J Beck late Smith Beck & Beck' containing three pairs of scissors, mounted neeld and scapel, compartments for slides, cover slips, rings etc, case 33cm across

A Rare 'Dr. G. Johnstone Stoney's Improved Heliostat', By Watson & Sons, English, c.1890, signed to a plaque on the base 'W. Watson & Sons, Manufacturers, 313 High Holborn, London', the base constructed of French polised Spanish mahogany with 3 large screw feet and 2 recessed spirit levels, the heliostat body containing the clockwork (working but untested) on a hinged base with graduated clamp, top engraved with compass points, with geared adjustments, missing the mirror and the mirror support, base 26 x 28 Footnote: this is part of a collection of instruments from the Oxford University Physics Department

Brass Dip Circle, English, c.1900, signed to the base 'BECKER, HATTON WALL, LONDON', on three adjustable screw feet, base with single spirit level, vertical dial with scale to one side, removable glass window, with steel needle on knife rests with a needle support arm operated vai a screw, instrument height 20.5cm Note: Dip circles (sometimes referred to as dip needles) were used to measure the angle between the horizon and the Earth's magnetic field (the dip angle). They were used in surveying, mining and prospecting as well as for the demonstration and study of magnetism.

A Set of 6 Standard Working Liquid Capacity Measures, English, c. 1931, engraved 'COUNTY BOROUGH OF PRESTON' W & T AVERY Ltd LONDON', each constructed of copper with brass bindings and brass handles and brass spirit level, each with sight glass to rear with an engraved scale, the measures engraved in the following capacities 1/2GALLON, GALLON, 2 GALLON, 3GALLON, 4 GALLON & 5 GALLON, the tallest 55cm. Footnote: Standard working measures were specially made to be used by the weights and measures department to calibrate any of the inspector's measures that were to be taken out on site. They were used to calibrate the check pump measures taken out by Customs officers.

UEMURA SHOEN (1875-1949), KITANO TSUNETOMI (1880-1947), AFTER TOSHUSAI SHARAKU (FL. CIRCA 1794-1795), AND OTHERSTaisho (1912-1926) and/or Showa (1926-1989) era, early 20th century; Meiji (1868-1912), Taisho (1912-1926), or Showa (1926-1989) era, early 20th century 17 oban tate-e shin-hanga prints, illustrating the works of the famous playwright Chikamatsu Monzaemon (1653-1725), by leading Taisho-era artists as follows: (1) Semimaru in Semimaru by Suga Tatehiko (1878-1963); (2) The heroine Matsukaze in Matsukaze murasame sokutai kagami by Nakazawa Hiromitsu (1874–1964); (3) Lady Hagi probably in Kanhasshu tsunagi-uma by Ogawa Usen (1868-1938); (4) The sailor Kezori Kuemon in Hakata kojoro nami makura by Noda Kyuho (1879-1971); (5) The heroine Ochiyo in Sunju yoi koshin by Kitani Chigusa (1895-1947); (6) A swordsman by Yamaguchi Sohei (1882-1961); (7) A female ghost by Uemura Shoen (1875-1949); (8) The deity Fudo and the priest Mongaku by Tomita Keisen (1879-1936); (9) The heroine Osan in Daikyoji mukashi-goyomi by Okada Saburosuke (1869-1939); (10) The heroine Yugiri in Yugiri Awa no Naruto by Shima Seien (1892-1970); (11) The heroine Umekawa in Meido no hikyaku by Kitano Tsunetomi (1880-1947); (12) A bunraku puppet in the role of Kongomaru Terutada in Shibaraku by Nishimura Goun (1877-1938); (13) The spirit of wine in Shuten Doji by Tamamura Hokuto (1893-1951); (14) The heroine Koman in Tanba Yosaku by Yamamura Kouka (1885-1942); (15) The heroine Koharu in Shinju ten no amijima by Kikuchi Keigetsu (1879-1955); (16) Princess Kinshojo in Kokusenya Kassen by Nishiyama Suisho (1879-1958); (17) The heroine Toragozen in Soga by Ishikawa Toraji (1875-1964); variously signed, originally published between 1922 and 1926 as a series of 18 prints and supplement to a set of 16 volumes of Monzaemon's work titled Dai Chikamatsu Zenshu (The Complete Works of Chikamatsu), some with an engraver and printer's names, this set probably containing both original and later editions; last a reproduction woodblock print depicting the actor Segawa Tomisaburo II as Yadorigi, the wife of Ogishi Kurando from the play Hanayama Bunroku Soga (The Iris Soga of the Bunroku Era); inscribed Toshusai Sharaku ga. The smallest: 29cm x 44cm (11 7/16in x 17 5/16in); the largest: 47.5cm x 29.8cm (18¾in x 11¾in); Sharaku: 38cm x 25.5cm (14 15/16in x 10in). (18).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

A CHINESE PAINTED POTTERY FIGURE OF AN EARTH SPIRIT, ZHENMUSHOU, TANG DYNASTY (618-907). The horned animal form figure seated facing forwards with flames issuing from the shoulders, with traces of red pigment. 37cm height.Provenance: From a private Essex collection. Purchased from Abhaya Asian Antiques, Hong Kong 2004.Minor repairs to the tines to note.

Solido die cast emergency services vehicles, and others to include Welly Urban Spirit

A Beswick Palomino horse Spirit of Nature, height 13cm.

A double spirit measure with ring handle, 4" high, Birmingham 1961, 65g

A RARE LARGE PALE GREEN JADE 'LANDSCAPE' MOUNTAINQianlongThe boulder of irregular mountain form, deftly carved in various levels of relief depicting a bearded sage, standing on a rocky ledge looking towards a young attendant reaching carrying a tray with offerings, before a further attendant preparing the Elixir of Longevity on a cauldron, all set amidst a mountainous landscape dotted with pine trees, overhanging wutong, leafy shrubs and a distant pavilion, the stone of even pale green tone with faint russet veining. 18.1cm (7 1/8in) high.Footnotes:清乾隆 玉雕松蔭高士圖山子Provenance: Christie's London, 4 April 1979, lot 76James Basil Wilson and Julia Wilson, and thence by descentIn 1945, James Basil Wilson returned from The Second World War having served with the Gurkhas. He married Julia Burke in 1949 and they moved to London. James started working for Iron and Steel Exporters and later that year, he was offered the chance to set up an office Hong Kong, so they moved there and set up home. The business was successful, they loved Hong Kong and they lived the life of ex-patriates to the full. They swam, played golf, made friends and indulged their passion for fast cars, competing in amateur road races. Julia claimed to have won at the first Macau Grand Prix. As well as enjoying the pastimes of the culture they brought with them, they developed an enduring love for China, Chinese people, Chinese food and Chinese art. With a growing family, they returned to England in 1957. They brought with them the pieces they had bought in Hong Kong and James made many trips to Hong Kong and continued to build their collection throughout the following decades mainly from dealers in London.來源：倫敦佳士得，1979年4月4日，拍品編號76James Basil Wilson與Julia Wilson伉儷舊藏，並由後人保存迄今James Basil Wilson二戰期間曾於廓爾喀軍團服役，1945年返回英國。 1949年與Julia Burke結婚，婚後搬至倫敦，並開始為Iron and Steel Exporters效力，同年被委任籌備香港辦事處，遂移居香港。事業發展蒸蒸日上的同時，Wilson伉儷也充分享受著外派人士的理想生活；游泳、打高爾夫、結交朋友，沉迷賽車運動甚至參加業餘車手街道賽，Julia聲稱曾完賽首屆澳門格蘭披治大賽車。在保留西方生活方式的同時，Wilson伉儷也對中國及其民眾、美食和藝術產生了長久的熱情。 1957年，隨著家庭的不斷壯大，Wilson一家回到英國，並帶回了其在香港購置的藝術品。此後，James多次前往香港，並在接下來的幾十年中持續造訪倫敦的古董商，擴充藏品。Deftly carved, this boulder is notable for its fine carving, including even the smoke-clouds arising from the stove used to prepare tea or perhaps an elixir. The large jade stone was sourced from the areas of Khotan and Yarkand, which became an available source of jade after the Qing conquest of the north-western territories in the mid-18th century, allowing superior quality and larger jade stones to be sent to the jade workshops. The Qianlong emperor instructed that jade boulders and carved panels should carry the spirit of paintings by famous past masters. It is recorded that a number of classical paintings from the emperor's own collection were ordered to be reproduced in jade, such as the well-known painting entitled 'Travellers in the Mountain' by Guan Tong of the Five Dynasties (907-960 AD). The popularity of such jade boulders carved with mountainous scenes is attested by a number of related examples illustrated in Jasper Wares of Qing Dynasty Collected by the Palace Museum and Mansi, Beijing, 2014, nos.107-112. See also another example of a green jade boulder with a design of a sage enjoying the sight of a waterfall, Qing dynasty, in the Qing Court Collection, with a poem by the Qianlong emperor, illustrated in Compendium of Collections in the Palace Museum: Jade, 8, Beijing, 2011, pp.128-129, no.96. The precision of the carver's workmanship, creating particularly crisp high-relief carving in some areas, and the imaginative interpretation from the outset of an asymmetric shape, is such that one can easy imagine this boulder adorning a desk in one of the Imperial palaces. It would foster contemplative introspection, with the beholder happily losing himself in the twists and turns of the rustic rocky pathway and the groves of old gnarled pine.The present lot is replete with auspicious meanings; not only the sage with two attendants preparing possibly an elixir of longevity, typical of Daoist hermits, but also the pine trees and cranes on the reverse. Cranes symbolise longevity and peace, and pine trees also symbolise longevity as well as endurance and steadfastness.See a related pale green and russet jade boulder with sages among a mountain path, Qing dynasty, illustrated in The Refined Taste of the Emperor: Special Exhibition of Archaic and Pictorial Jades of the Ch'ing Court, Taipei, 1997, pp.156-157, no.47. Compare also the present carving to a group of jade mountains carved with landscape motifs from the Qing Court Collection, illustrated in the Compendium of Collections in the Palace Museum: Jade 8, Beijing, 2011, nos.95-98.See also a related pale green jade 'Immortals' boulder, Qianlong, which was sold at Bonhams London, 5 November 2020, lot 158.For further information on this lot please visit Bonhams.com