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A vintage 20th century Kevin Francis "W. S. Churchill" ceramic hand painted toby jug. Spirit of Britain "W. S. Churchill", limited edition n. 76 of 5000. The jug depicting Winston Churchill holding a cigar with a lion to his right side and `the history of the English speaking people` to his left, with British flag on the back. The jug being had made and hand painted. It measures approx. 22.5cm height. It appears in overall good conditions with minor wear commensurate with age. 

A collection of 19th and 20th century copper and brass wares. To include a miniature kettle collection, bells, copper and brass spirit kettle, brass kettle, trivet stand, chestnut warmer, jam pan ladel, copper and brass lion paw feet dish, brass shoe easel backed spill vase and other items

A 19th century brass spirit kettle by William Soutter & Sons Ltd of Birmingham. The kettle with handle and burner set to stand. Stamped to underside of kettle. measures approx: 11 cm x 18cm x 13cm

Red colored wooden ceremonial statuette of a standing woman, Baoule, "Spirit lover" "Your Valentine from the other world", Africa ca. 1950, 30 cm high, 300 grams

ALCOHOL, a collection of Whisky and assorted Spirit to include 1 x ABRACHAN blended Malt Scotch Whisky 42% vol. 70cl, 1 x BUSHMILLS Irish Whiskey 40% vol. 70cl, 1 x JIM BEAM Kentucky Straight Bourbon Whiskey 40% vol. 70cl, Gin, Sake, Win and Liqueur (17 bottles including miniatures)

ALCOHOL & CIGAR, a small collection of Spirit (Raki, Vodka) Wine and Ale and a Cigar from Gran Canaria (20” x 1.5”)

J C Graham Illingworth limited edition print 151/295 'Encapsulation of a spirit' professionally framed & mounted. 99 cm x 79 cm including frame size

***A. E. Halliwell (1905-1987) - Pencil and Gouache - Four advertisement designs - "World Communication by Cable and Wireless", "Shell the Spirit of the Age", " The Southport Flower Show" and "Tea this Xmas", all unsigned, circa 1930s, the largest 10.5ins x 7.5ins

Vintage spirit level and water pump ?

Bacardi Mojito Classic and Pink Grapefruit spirit drink

Two boxes of various sundry items to include clocks, books, DVD's, spirit level

A quantity of metalware to include a fire companion set; a spirit kettle; horse brasses and a toasting fork

TWO GILBEY SPIRIT BARRELS PLUS A FURTHER WHITE CERAMIC JAR

A silver spirit kettle having gadrooned decoration and monogram to side, gradrooned and scallop shell moulded rim, acanthus leaf decoration to handle, stand having moulded scallop shell feet and plain burner, Chester 1923, Barker Brothers, approx 1358.7g

An Indian silver double ended spirit measure having extensive repousse floral and scroll decoration, no marks, tests as silver, approx 90g

A selection of wine or spirit decanters with decanter stand and also HM silver badges for Sherry and Port

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.

Doulton & Watts stoneware spirit barrel 35 x 52 x 25cm

Brougham Reform Cordial - a Doulton and Watts Lambeth Pottery Saltglazed Stoneware Reform Flask, 19th Century, modelled as Lord Brougham holding a scroll, impressed "The True Spirit of Reform", 7.25ins high, impressed mark to backCondition ReportVertical hairline crack to back starting just below thew dark stain and travelling towards the base, measuring approx. 7cm. Small firing crack to left side at front bordering the reform petition. There is not a pub/retailer's name to the back of this piece.

A Brown Saltglazed Pistol Pattern Spirit Flask by Stephen Green of Imperial Potteries, Lambeth, 19th Century, 9.25ins overallCondition reportThis lot appears to be in good condition with no obvious damage/loss/restoration.

A Brown Saltglazed Percussion Cap Pistol Pattern Spirit Flask, 9.75ins overallCondition ReportThere is some very light miniscule chipping to the end of the barrel but otherwise this lot appears to be in good condition with no obvious damage/loss/restoration.

A Collection of Fifteen English Snuff Boxes, including - tortoiseshell rectangular box with plated mounts, early 19th Century, 3.5ins x 2ins x 1.125ins, carved wooden snuff shoe, 3.5ins x 1.75ins high, circular oak box with inset bell metal circular plaque inscribed "Oak and bell metal of York Minster. Burnt May 20 1840", 4.5ins diameter, and three other objects - seven drawer copper monocular, cased meerschaum pipe and Chinese cast brass dog of FoCondition ReportTortoiseshell example with plated mounts - the interior base shows vertical slots cut for two central dividers. The central dividers are missing. Shoe snuff box - the hinge is broken and a small piece of the cover at the hinge end is broken away and missing. Small oval horn box with silvery metal and paste mount to top - the side of the top with some damage and a small area missing. Cylindrical brass wax Vesta box - small dent to lower part. Small glass spirit bottle, stopper and glass in olive wood case - olive wood with age crack to underside of base extending into body for approximately .5ins. Miniscule chip to rim of bottle. All other pieces appears to be in good condition with no obvious damage/loss/restoration.

Hayter self powered spirit 41 lawn mower with rear roller

A 19th century horn-handled and leather riding crop, together with a 19th century ebonised walking cane with white-metal handle and two other walking canes, one being a 'tippling stick' with internal glass spirit flask (4)

'Pack Leader', model No. STW07, limited edition 577/1500, 'Call of the Wild', model No. STW03, limited edition 713/2500, 'Free Spirit', model No. STW08, limited edition 400/1500 and 'Den Mother', model No. STW06, limited edition 648/2500, all by Richard Roberts, on wood bases, all with certificates (4)

A collection of silver and silver plate, the silver including: a cream-jug; another cream-jug, engraved for the Nazeing Golf Club; a small mug, engraved with initials; a cigarette-case with engine-turned decoration; four differing napkin-rings; a small cream-jug and a quantity of condiment items, weighable silver 23oz 17dwt, 741gr; The Silver Plate including: a spirit-flask and two mugs; Together With: a brass snuff-box, the cover engraved 'Jas Drybrough', the base engraved with an early steam engine (qty)

A collection of assorted silver and silver plate, including: a Victorian cased carving-set, by Pearce and Sons, with silver and ivory mounts; a pair of silver cheese pegs by Braybrook and Britten formed as mice; a silver plate toddy-ladle with whale bone handle, a pair of silver dwarf candlesticks, Birmingham, 1986; a silver salt-cellar; a pin-dish; a berry-spoon; a nail buffer and a quantity of silver plate including a spirit kettle on stand and a serving dish raised on cast paw feet (qty)

HARING, Keith (*1958 Reading †1990 New York City) für Villeroy & Boch/ Mettlach, 1992, Serie Spirit of Art, No. 2, Deckeldose, The Estate of Keith Haring, Porzellan, polychromiert, Ltd Ed. 200/ 750, 9,5 x 29,5 x 26 cm, im Boden gestempelt

HARING, Keith (*1958 Reading †1990 New York City) für Villeroy & Boch/ Mettlach, 1992, Serie Spirit of Art, No. 2, fächerförmige Vase, The Estate of Keith Haring, Porzellan, polychromiert, Ltd Ed. 259/ 750, 26,5 x 30 x 7,5 cm, im Boden gestempelt

A JAEGER LECOULTRE ATMOS CLOCK, of traditional design, the 4 1/4" dial with skeletonised centre above a balance wheel and spirit level base, stamped serial number 387745, with papers, height 23cm

A JAEGER LECOULTRE RHODIUM PLATED ATMOS CLOCK, Swiss, circa 1960, movement calibre 519, the 5" silvered dial with skeletonised centre above a large balance wheel and spirit level base, stamped serial number 56635, height 23.5cm

Mid C20th Rolls Royce promotional glass tray, depicting the spirit of ecstasy D12cm, boxed Moorcroft pin tray with painters mark to reverse D12cm, 1970's Ianthe hardwood fruit bowl on three geometric chrome plated feet D23cm (3)

Beswick Matt Spirit of the Wind H2688:

Royal Doulton Prestige figure Dolphin Spirit HN5126: Limited edition with box and certificate, height 20.5cm.

Beswick Spirit of Nature & Large Corgi Dog(2):

Beswick Matt Spirit of the Wind H2688:

A white metal matchbox holder together with a chromed lighter bearing Britannia in relief to both sides, and a patented folding brass stamp "Edward Norburn Wine & Spirit Merchants, Milton Arms Hotel, Rockingham St., Sheffield"

SILVER PLATED SPIRIT KETTLE,with ebonised handle and finial, in a Christopher Dresser style, along with a pokerwork pocket watch stand modelled as a grandfather clock (2)

LARGE STONEWARE SPIRIT FLASK,55cm high

Spanish School 19th century."The Temptations of Saint Anthony".Oil on canvas.Measurements: 40 x 29,5 cm.It presents small scratches and detachments of paint.We are in front of the representation of the Temptations of Saint Anthony Abbot, a theme that has been very recurrent in the history of art and that has been represented in several periods and styles by artists as well known as El Bosco, Salvador Dalí or Joos Van Craesbeek.Saint Anthony, also called Anton Abbot, lived in Egypt between 251 and 356. He spent most of his adult life in the desert, living as a hermit. He was the first mystic in the secluded corners of the harsh Thebaid. He sought solitude and spent much of his time in meditation and prayer.According to the Catholic saintly narrative, the young man who had fled from the presence of men found solitude populated by demons. The spirit of evil, which had foreseen in this young man the father of a heroic race, appeared before him again and again "with its innumerable transformations and its infinite species". St. Anthony saw the world covered by the nets of the Evil One, who appeared to him as "a deformed monster, whose head touched the clouds and in whose claws were caught many souls who were trying to fly to God".Later, the founder of the hermits warned his disciples in writing about the dangerous enemies of the solitary:"Terrible and perfidious are our adversaries. Their multitudes fill space. They are always near us. Among them there is a great loneliness. Leaving it to the wisest to explain their nature, let us content ourselves with learning of the cunning they use in their assaults against us".Thus, in this piece St. Anthony is depicted writing at his desk, surrounded by temptations, lust, power and wealth.

Orientalist school of the 19th century."On the outskirts of the city".Oil on hardboard.Size: 28 x 37 cm; 49,5 x 59 cm (frame).Orientalism was born in the 19th century as a consequence of the romantic spirit of escape in time and space. The first Orientalists sought to reflect the lost, the unattainable, in a dramatic journey destined from the outset to fail. Like Flaubert in "Salambo", painters painted detailed portraits of the Orient and imagined pasts, recreated down to the last millimetre but ultimately unknown and idealised. During the second half of the 19th century, however, many of the painters who travelled to the Middle East in search of this invented reality discovered a different and new country, which stood out with its peculiarities above the clichés and prejudices of Europeans. Thus, this new school of Orientalism left behind the beautiful odalisques, harems and slave markets to paint nothing but what they saw, the real East in all its everyday dimensions. Along with the change of vision came a technical and formal change; since it was no longer a question of recreating an imagined world in all its details, the brushstroke became more impressionistic, and the artists focused less on depicting types and customs than on faithfully reflecting the atmosphere of the place, the very identity of the North African populations.

MARIÀ FORTUNY (Reus, Tarragona, 1838-Rome, 1874)"Allegory of Christianity".Oil on cardboard.Signed in the lower right corner.Sketch for a painting representing the vision of the Coliseum.Reproduced in "Mariano Fortuny Marsal" Volume II (Carlos González and Montserrat Martí). Colección Maestros del Arte de los siglos XIX y XX pg.: 22. Editorial Diccionari Ràfols. Barcelona, 1989.Size: 16,5 x 24 cm; 37,5 x 44,5 cm (frame).Mariano Fortuny probably painted this oil painting (sketch for a painting set in the Coliseum) in his last period, when he was living in Rome, a city in which he lived intermittently throughout his career. That this is a work of the artist's maturity is evident from the supreme freedom of line and the ingenuity of the composition. The anecdotalism of oriental subjects that he worked on so much in earlier periods has been suppressed in favour of an expressionism "avant la lettre", anticipating to some extent avant-garde solutions. Here, the very free spirit which animates the dramatic play of light, the dissolution of forms in favour of the pure impulse of the gesture, is subordinated to the religious theme. Forming a sort of ascending swirl, the glowing angels and saints on the right are counterpointed by the dark spirits on the left. Both allude to the theme of the Passion, Death and Resurrection of Christ. The allegory seems to speak to us, beyond the biblical theme, of the light and shadow of good and evil, of their eternal struggle. As the scene is set in the Coliseum, it could represent the triumph of Christianity over paganism. Fortuny displayed a profound knowledge of Baroque painting, which he reinterpreted with complete freedom: the ascension theme, the rupture of glory... are Baroque elements reread in a modern key.Fortuny began his training at the Municipal School of Art in Reus, and in 1850 he moved to Barcelona with his grandfather. There he continued his studies as a disciple of Domingo Talarn, and entered the School of Fine Arts, where his teachers were Pablo Milá, Claudio Lorenzale and Luis Rigalt. At the same time he attended Lorenzale's public school, which determined his inclination towards Romantic painting at this early stage. In 1858 he settled in Rome thanks to a scholarship, and attended the Accademia Chigi. While there, the Diputació de Barcelona invited him to travel to Morocco to paint the warlike encounters that were taking place in the area, which was to be a turning point in his career. The light of Morocco and the exoticism of the place and its people led him to take an interest in aspects totally unknown in his previous production. In 1860 he visited Madrid, where he visited the Prado Museum and became interested in the work of Velázquez and Goya. Shortly afterwards he began a trip around Europe and finally returned to Rome for good. He attended classes at the French Academy of Fine Arts at the Villa Medici, and in 1861 he visited Florence and came into contact with the "macchiaioli". From then on he returned to Morocco and Paris, as well as travelling to Toledo, where he discovered the work of El Greco. In 1867 he exhibited in the studio of Federico de Madrazo, who became his father-in-law that same year. The following year he returned to Rome, and in 1870 his international fame was consolidated thanks to his exhibition at the Paris gallery of Goupil. During these years he moved to Granada, to the Fonda de los Siete Suelos in the Alhambra, with the idea of tackling new themes with the greater freedom afforded by commercial and critical success. However, in 1872 he was forced to return to Rome, where he remained until his death. Mariano Fortuny is represented in the Prado Museum, the National Gallery in London, the Hispanic Society Museum in New York, the Palazzo Ruspoli in Rome, the Fine Arts Museums of Bilbao, San Francisco, Cincinnati and Boston and the National Art Museum of Catalonia, among many others.

EMILIO GRAU SALA (Barcelona, 1911 - 1977)."Pensive young woman", Paris, January 1937.Oil on canvas.Signed, dated and located in the lower right area and on the back.The frame is damaged.Size: 55 x 46 cm; 77 x 68 cm (frame).The feminine universe fascinated Grau Sala, and this fascination is translated into intimate scenes which, in spite of their familiarity, are located halfway between reality and reverie. Scenes such as the present one bear witness to this: the subdued colour dilutes lines and forms in a balanced, harmonious composition featuring a young woman waiting pensively at a bar counter. In this way an atmosphere of light and independent colour is constructed, nuanced by Grau Sala's highly personal textures, which play at confusing the space, awakening the viewer's imagination.Son of the draughtsman Juan Grau Miró, Grau Sala combined his attendance at the Barcelona School of Fine Arts with an essentially self-taught training. In 1930 he held his first exhibition at the Badriñas gallery in Barcelona. At the outbreak of the Civil War, in 1936, he moved to Paris, where he settled in the Montparnasse colony of Spanish artists. That same year he was awarded the first Carnegie Prize. During the twenty-five years he spent there he became closely acquainted with the avant-garde, although he always favoured a colourist figuration derived from Impressionism and Fauvism. It was a path already taken by the commercial circuit, surpassed in terms of novelty by Cubism and Surrealism, but which was kept alive at a high level thanks to masters such as Bonnard, Chagall and Dufy. In fact, he soon became known in Paris as the successor to the Impressionist spirit and values, directly related to Bonnard and Vuillard. Grau Sala's stylistic choice conditioned that of his wife, Ángeles Santos, who abandoned her singular surrealism for a more conventional landscape, a decision that critics did not hesitate to regret. The success of his style led Grau Sala to devote himself also to graphic work (engravings, lithographs, illustrations for novels, posters...), as well as theatre sets. The grace and finesse of his characters, the vivacity of the colours and the elegant atmosphere of the environments he depicted brought him great success and recognition all over the world. He held several solo exhibitions, mainly in Barcelona and Paris, but also in cities such as New York, Toulouse, London and Los Angeles. In 1963 he returned to Barcelona, when the stagnant figuration of Franco's Spain was beginning to be challenged by Oteiza, Chillida, Tàpies and the "El Paso" collective. However, he remained faithful to his style, and until his death in 1975 he worked in his own personal style, centred on his favourite themes, female figures, interiors and landscapes, in a vaguely classical, nostalgic 19th-century setting. After his death, and for more than a decade, Grau Sala was overshadowed by the many novelties that were emerging in democratic Spain, but from the 1990s onwards, the new boom in mid-level collecting revived Grau Sala, as he was seen as an interpreter of Impressionism in a Spanish key. Works by Emilio Grau Sala are kept in the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo Esteban Vicente and the Instituto Óscar Domínguez de Arte y Cultura Contemporánea.

MIGUEL VICO HERNÁNDEZ (1850 - 1933)"Women in an Arab Bath", 1906.Oil on canvas.Signed and dated in the lower right corner.Measurements: 83 x 58 cm; 99,5 x 75 cm (frame).In this canvas presented by Miguel Vico, we can appreciate two women in a richly decorated courtyard, whose ornamentation transports us to the interior of a luxurious Arab palace. The painter focuses above all on the depiction of architecture and atmosphere, the essence of which is rooted in Orientalism. This artistic movement was born in the 19th century as a consequence of the Romantic spirit of flight in time and space. Orientalist painters sought to reflect the lost, the unattainable, in a dramatic journey destined from the outset to fail. Like Flaubert in "Salambó", the painters painted detailed portraits of the Orient and imagined pasts, recreated to the millimetre, but ultimately unknown and idealised.Miguel Vico Hernández (1850-1933), born in Granada and trained at the Escuela Superior de Bellas Artes. He entered the paintings "Patio de la Mezquita en el palacio árabe de la Alhambra" ("Courtyard of the Mosque in the Arab Palace of the Alhambra"), "Casa en que habitó el pintor Melgarejo" ("House in which the painter Melgarejo lived"), "Puerta de la sala de las dos hermanas en la Alhambra" ("Door of the Hall of the Two Sisters in the Alhambra") and "Un mendigo" ("A beggar") in the National Fine Arts Exhibition of 1876. Miguel Vico also took part in the Paris Salon for several years, exhibiting "Un centinela árabe" (An Arab sentinel) in 1887 and "Recuerdo de Granada" (Memory of Granada) in 1880. In Madrid he also took part in exhibitions in 1882 and 1883 where he presented "Cercanías de Granada" and "Una calle de Granada".

COMICS: group of approx 89 mixed comics and underground titles, to include Will Eisner's 'The Spirit', (c.25 issues): Bedlam: Usher: Unknown Worlds of Science Fiction (7 issues inc. Vol.1 1976): Action (c.39 issues), and others. (One box)

COMICS: mixed collection of approx 119 titles and issues, to include Adventure Comics, Witching Hour!, Secrets of Haunted House: The Spirit: and Superman. (One box)

A mixed lot to include a petrol hedge trimmer, spirit level, garden sprinkler, wooden vice etc

A vintage Shell Motor Spirit fuel can; a jerry can; and a vintage green oil jug (3)

A box of sundry glass, together with a spirit kettle

the wooden rectangular box covered in green stained shagreen with silver gilt piano hinge and pierced silver mounted corners and thumbpiece, mark of Charles & Richard Comyns, London 1926, 14 x 9.5cm, the cylindrical table-top spirit lighter similarly covered, with friction fitting top and steel fittings, 5cm diameter, 9cm in height (2)Condition report: Box: Silver fittings would benefit from a polish. Feet are very slightly bent in, but the box stands firm on a flat surface with no wobble. The hinge is in order, but the cover is a little warped so does not completely close to the front left hand corner. Very minor loss to the shagreen to the right hand side of the hinge to the reverse of the box. Interior in good order.Lighter: Metalware with some light surface scratches as to be expected. Some further scratches and scuffing to the underside. Shagreen in good order. Cover a tight fit. Replacement wick in situ, but the mechanism is in need of a flint. Striker rotates satisfactorily.

A group of vintage perfume bottles, boxed including June by Saville and The Spirit of Mischief plus plastic powder bowl and three compacts

Lego - Three early boxed sets to include 367 Space Moon Landing, 033 Basic Set and 661 Spirit of St Louis, all unchecked but look gd, boxes with creasing and wear

Two boxed Hornby OO gauge electric train sets to include R1063 Gravel Tipper Freight Set and R1109 The Western Spirit electric train set, both complete

A box of brass spirit kettle, white metal ladle, cased travel set, and Art Nouveau mantle clock

AN IMPORTANT COLLECTION OF ONE-HUNDRED HARDSTONE NEOCLASSICAL INTAGLIOS, NINETY-EIGHT OF WHICH WERE FORMERLY IN THE COLLECTION OF PRINCE STANISLAS PONIATOWSKI (1754-1833)Each intaglio carved in carnelian, sardonyx, amethyst or chalcedony to depict a classical scene, with majority with Greek pseudo signature, each with an electrotype cast, in two wooden and Perspex frames each containing fifty intaglios and together with a hardbound reference catalogue with slipcaseProvenance: Prince Stanislas Poniatowski Christie's, London, 1839 John Tyrell Esq.Various private collections Property of a private lady. Inherited from her father in 1999. He purchased the gems from Collingwood, Conduit Street in 1973, who commissioned the electrotype casts, compiled the reference catalogue and mounted them on display boards.Reference literature: Catalogue des pierres gravιs antiques de S.A. le Prince Stanislas Poniatowski ([1830?]-1833) Prendeville, J.: Explanatory catalogue of the proof-impressions of the antique gems possessed by the late Prince Poniatowski and now in the possession of John Tyrrell, Esq. (1841) Platz-Horster,G.: L'antica maniera. Zeichnungen und Gemmen des Giovanni Calandrelli in der Antikensammlung Berlin (2005)Please note that we have used the subject descriptions as per the Beazley Archive, which differ from the hardbound reference catalogue that accompanies this lot. With thanks to Dr Claudia Wagner of the Ashmolean Museum, Oxford for her assistance with research for our comparative references to the Beazley Archive.PRINCE STANISLAS PONIATOWSKI (1754 - 1833) Prince Poniatowski was the nephew of the last King of Poland. He was well educated and developed a keen interest in the arts including Classical mythology. He emigrated to Italy at the end of the 18th century and after the Partition of Poland where he lived in Rome and Florence. It was here in the early 19th century that he commissioned over 2500 hardstone intaglios to be carved in the Classical manner, in the spirit of the Grand Tour. The skilled gem engravers who included Luigi Pichler (1773 - 1854) and Giovanni Calandrelli (1784-1853), were exclusively influenced by Classical literature, especially the works of Homer, Virgil and Ovid rather than the many ancient Classical representations which had inspired so much Neoclassical art. Together with their stylistic interpretation of the subjects, this gave them a distinct originality and a unique visual language. Poniatowski did little to discourage the misconception that his gems were Classical and used contemporary Greek pseudo signatures. He published two catalogues of his gems and his collection was sold after his death at a Christie's auction in 1839. The deception was exposed and the gems were recognised and spurned as 'modern'; with the majority being acquired by John Tyrrell. The collection was subsequently split and has been widely dispersed ever since. The intaglios being offered now are probably the largest collection of Poniatowski intaglios to be offered at auction since the mid 19th century.

TRUMAN HARRY S.: (1884-1972) American President 1945-53. A very fine D.S., Harry Truman, as President, one page, 14 x 21, Washington D.C., 8th May 1945, the printed document signed being a decorative calligraphic proclamation, issued the day following the WWII German surrender, of a day of prayer to be celebrated on May 13th 1945. The text of this document of historic interest, states in full “The Allied Armies, through sacrifice and devotion and with God´s help, have wrung from Germany a final and unconditional surrender. The Western World has been freed of the evil forces which for five years and longer have imprisoned the bodies and broken the lives of millions upon millions of free-born men. They have violated their churches, destroyed their homes, corrupted their children, and murdered their loved ones. Our Armies of Liberation have restored freedom to these suffering people, whose spirit and will the oppressors could never enslave. Much remains to be done. The victory won in the West must now be won in the East. The whole world must be cleansed of the evil from which half the world has been freed. United the peace-loving nations have demonstrated in the West that their arms are stronger by far than the might of the dictators or the tyranny of military cliques that once called us soft and weak. The power of our peoples to defend themselves against all enemies will be proved in the Pacific war as it has been proved in Europe. For the triumph of spirit and of arms which we have won, and for its promise to the peoples everywhere who join us in the love of freedom, it is fitting that we, as a nation, give thanks to Almighty God, Who has strengthened us and given us the victory. Now, therefore, I, Harry S. Truman, President of the United States of America, do hereby appoint Sunday, May 13th, 1945, to be a day of prayer. I call upon the people of the United States, whatever their faith, to unite in offering joyful thanks to God for the victory we have won and to pray that He will support us to the end of our present struggle and guide us into the ways of peace. I also call upon my countrymen to dedicate this day of prayer to the memory of those who have given their lives to make possible our victory. In witness whereof, I have hereunto set my hand and caused the seal of the United States of America to be affixed” The document bears a red, white and blue ribbon to the lower right corner. Framed in wood and glazed to an overall size of 16 x 23. Bearing to the verso the framing contemporary label of I.M. Avery, Falls Church, Virginia. VG The present undisturbed example provides an important clue to the correct appearance of this document. To our knowledge, this is the sole example of the handful of other known copies to have survived in this sealed state. The original recipient of the document, Elmer W. Moore, was a Secret Service agent for four decades and served for a year on Truman´s White House.

INGRES JEAN-AUGUSTE-DOMINIQUE: (1780-1867) French Neoclassical Painter. Autograph statement by Ingres, signed `J. Ingres´, two pages, 12mo, n.p., n.d., to Monsieur Capelet, in French. To a page removed from an autograph album, four personalities have written in their hand four short statements, two the front and two to the verso. To the front page Ingres cleanly and boldly writes `Je m´honore de partager les voeux philantropiques de Mr. Capelet. J´applaudis au zele qu´il montre pour le bien de l´humanité, et puisqu´on dit que les arts descendent du ciel pour adoucir les moeurs des hommes et les rendre meilleurs, je voudrais les voir mettre au nombre des premiers enseignements, et qu´enfin les hommes apprissent a dessiner en meme temps qu´a lire et a écrire´ (“I am honoured to share the philanthropic wishes of Mr. Capelet. I applaud the zeal he shows for the good of humanity, and since it is said that the arts come down from heaven to soften the morals of men and make them better, I would like to see the arts put among the first teachings, and that finally men learn to draw at the same time as to read and write”) Accompanied by a 2.5 x 4 cabinet visiting-card of Ingres, unsigned, the Desmaisons image, from Paris, showing Ingres in a half-length pose. To the front page also and above Ingres´ statement, a short statement by Giuseppe Casparo Mezzofanti (1774-1849) Italian Cardinal and Linguist, considered the major polyglot in history, speaking fluently 48 different languages. Mezzofanti states `Quand la religion t´anime d´un esprit noble et magnanime, tu soulages l´humanité´ (“When religion animates you with a noble and magnanimous spirit, you relieve humanity”) To the verso bearing an autograph statement by Xavier Sigalon (1787-1837) French Painter, a leader of the romantic movement. VG

FLAXMAN JOHN: (1755-1826) British sculptor and draughtsman, a leading figure in British and European Neoclassicism. Autograph Manuscript, unsigned, two pages, 4to, n.p., n.d. Flaxman writes a summary of a lecture on sculpture which commenced with a summary recital of 'the Treasures of Ancient Art & Literature possessed by the Moderns notwithstanding the destruction of time & war' and states, in part, that it 'shewed those remains were in general sufficient for our information concerning the state of knowledge in different periods of Antiquity…..the Argonautic expedition, the Theban & Trojan wars produced no great alteration in the manners or polity of the Greeks - but the contest with Xerxes which struck the first fatal blow to the Persian power & made way for the  3d. great Monarchy of the world (the Grecian) stimulated the spirit of Greece to the greatest efforts - then in the constellation of illustrious characters, Socrates, Plato….Euripides & Sophocles, Phidias appeared & superint[end]ed the buildings of Pericles, Temple of Minerva, described, her statue of ivory & gold 30 feet high…..the Venus, Cupid…..by Praxiteles were particularly noticed…..The schools of sculpture were Athenian, Sicyonion, & Rhodian. The Lecture was illustrated by a number of drawings & casts'. Some light age wear and a few minor stains and small tears to the edges, about VG

EPSTEIN JACOB: (1880-1959) American-born British Sculptor. Collection of ten A.Ls.S., Jacob Epstein, nineteen pages (total), 8vo, Hyde Park Gate, Kensington, 28th October 1953 to 10th June 1954, each to David Hardman, secretary of the Sir Stafford Cripps Memorial Trust. In the first letter Epstein invites Hardman to come and see the bust of Cripps, explaining that it is not finished however adding that Lady Cripps is also keen to see it, and explaining 'I am a little uncertain about showing it yet to Lady Cripps who of course will have a not unnatural anxiety about it & I want really a decision from you before I show it [to] her'. The sculptor also comments on being shown an unsuitable place in St. Paul's that had been allocated to the bust although adding that he now understands he can choose any place he wishes for the memorial. In his second letter Epstein thanks Hardman for a payment of £337 and announces 'Tomorrow I am showing the bust to Lady Cripps, not without some trepidation! I think I have interpreted Sir Stafford in the right spirit.' and in further letters discusses the inscriptions to appear on the bust, preparations for sending the work to the foundry ('I have been today to the foundry & the more I think of it the less I like the idea of glasses on the bust. After all God made Sir Stafford without spectacles'), also requesting the final payment from the committee, updating Hardman on the progress at the foundry, discussing his thoughts on the pedestal ('Dove silver grey will look very fine & show up the bronze.'), and also commenting on a meeting at the foundry ('The reception….was somewhat curious I thought. The ecclesiastic talked as if we were attempting a crime when I asked about the site of the bust & Mr. Attlee was like a frozen turnip. A somewhat chilling affair.'), stating that he hasn't the heart to battle with the Cathedral authorities and also asking for confirmation of the date of the unveiling and requesting 5 or 6 tickets to give to friends who would like to attend ('I recall that the Dean hinted that a crowd would not be welcome! What a silly idea….I don't mind in the least the vagaries of the ecclesiastical mind. Of course it is their cathedral.') and in the final letter Epstein thanks Hardman for 'photographs of [the] great event, when we were shoved out after half an hour' and asks if he saw Tom Driberg's account? An interesting series of letters. One letter has some light age wear and another has a minor tear, a few with ink annotations (presumably in Hardman's hand), otherwise G to generally VG, 10 Sir Richard Stafford Cripps (1889-1952) British Labour Politician, Chancellor of the Exchequer 1947-50.

[PROSTITUTION]: A printed broadside entitled The Female Jockey Club, or A List of the Sporting Ladies, one page, 4to, Newcastle, n.d. (c.1785-1811). The broadside, printed by David Bass, states, in part, 'Miss Betsy Warding, an exceedingly sprightly filly, a good figure, carries a lofty head, goes extremely well, and shows a smart leg - she has never yet been beat, which is something remarkable - and is often airing with Miss Britannia, a light chestnut filly, by a son of Neptune…..seemingly possessed of all the blood and spirit of her fire, and is allowed to be one of the most accomplished creatures now on the turf - The former generally runs in blue and black hat, the latter in white and straw - Stable, near Pandon Bank….The handsome Grey Filly, a noble looking animal, remarkably genteel and comely, and whose long continued celebrity on the turf is well known by the Sportsmen in this neighbourhood; and appears to have been train'd in the Military School, as she once ran away with an Officer…...The famous Caledonian Filly continues on the turf with unrival'd success. But unfortunately she is rather restive, apt to throw her rider, and has twice run off the course…..Miss Modesty….a slender filly….late the property of Dr. Skeleton, is a dull looking animal, but not apt to stumble, and runs over the course very easily….Miss Lillyput, a remarkable neat little creature…..she is not a very handsome filly, but as swift as a hawk….Her stable is at no certain place, but is often airing in the Bigg-market…..Mrs Taty's filly promises to be an ornament to her stud, as much pains have been taken in her training. She is tall and slender, and something extraordinary is expected when she enters the list, as she intends to start for Macaroni Stakes only - Stable, near the Long Stairs:- where there are many of the Sporting Dames, of all ages, ready to run at any time, and for any prize…..The celebrated Stables in Plumber Chare are still occupied by Coursers of the Lower Class:- among which are the noted Captains Filly, Kitty Crabtoe, Bet Fish, Little Gravy-eye, Peg Whale, Fan Blubber, &c. &c. - These fillies are generally jockied by sailors, who are well known to be clumsy riders…..The Gentlemen Sportsmen are respectfully informed that the New Stables, near the Stockbridge, are now open for their accommodation, and at present contain a number of fillies of almost every description, whose names and pedigrees are as yet unknown; and may be seen generally in the evenings, parading the principal streets, in pairs'. Matted in black and a dark shade of pink and framed and glazed to an overall size of 13.5 x 15.5. Some light age wear, about VG