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Two reproduction models of the Spirit of Ecstasy, each on a granite stand, together with a modern Art Deco style bronze figure of a lady (no stand) (3)11 and 36cm highCondition report: The figure is modern, but is bronze and not resin.

A fully hallmarked sterling silver double spirit measuring cup, maker marked for J B Chatterley & Sons Ltd, assay marked for Birmingham and dated for 1982.

OAK SPIRIT BARREL

HARLEQUIN SET OF NINE ‘MOSER’ SPIRIT GLASSES, in differing shades of green, yellow, pink and others

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) PALMA, MAJORCA Signed, dated on a label verso 1933, oil on board(61cm x 51cm (24in x 20in))Footnote: Provenance: Sir William and Lady MacTaggart and thence by family descent Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) CASSIS Signed, oil on board(48cm x 38cm (18in x 15in))Provenance: Lady MacTaggart and thence through the familyFootnote: Exhibited: 1922 Group Edinburgh, 1924 Scottish National Gallery of Modern Art, Sir William MacTaggart Retrospective Exhibition 1968, no.4 Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) FLOWERS AT NIGHT Signed, oil on canvas(76cm x 61cm (30in x 24in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) STILL LIFE Signed, oil on canvas(76cm x 56cm (30in x 22in))Footnote: Provenance: Collection of Dugald McTaggart Lindsay. Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) NORWEGIAN FJORD Signed and dated '54, oil on board(24cm x 36cm (9.5in x 14in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

§ SIR WILLIAM MACTAGGART P.R.S.A., R.A., F.R.S.E., R.S.W. (SCOTTISH 1903-1981) AT GOSFORD, EAST Signed, inscribed on a label verso, oil on canvas(76cm x 63.5cm (30in x 25in))Footnote: Note: Lyon & Turnbull are pleased to present to market a fine selection of work by Sir William MacTaggart. MacTaggart is an interesting figure within Scottish Art. His approach to his subject, distinctive technique of paint application, and above all his jewel-toned palette, renders his work highly recognisable. He was the grandson of William McTaggart, who had been a huge force for change and lasting influence within Scottish art. He shared his forebear’s talent for capturing atmospheric light, as well as an interest in landscape painting from an elemental perspective. Growing up under this important influence, MacTaggart set out to become an artist from the tender age of fifteen. Respiratory issues blighted his childhood and his studies at the Edinburgh College of Art. The outcome was that he spent a lot of time in the healing warmer climate of the South of France - the land of Cezanne - whose influence was notable in his early career work, as it had been in the work of the Scottish Colourists before him. These periods of convalescence also meant he never became fully indoctrinated in the Edinburgh College of Art’s artistic approach at the time, which was still staunchly traditional and centred round draughstmanship, form and tone. His friend and contemporary student H. Harvey Wood wrote in his 1974 monograph on MacTaggart that in many ways his work, and particularly his distinctive palette, was a reaction to the College’s doctrine and relative disinterest in colour (a reaction interestingly also pursued by his contemporaries William Gillies and John Maxwell). His distinctive aesthetic was also due to his shifting interest from the French Impressionist school towards the German Expressionist and Nordic masters like Nolde and Munch. As a result, we see his tones becoming less French and sun-baked, and his later period explores a sense of the Autumnal, the crepuscular, and the nocturnal. The distinctive use of colour, which matured into a palette Harvey Wood likens to the glow of medieval cathedral stained glass, was perfect for achieving MacTaggart’s artistic aim: to capture within his work a sense of mood. There is something brooding and emotional, tempestuous even within his paintings, which was apparently at odds with the moderate and considered outward demeanour of the man himself. As evidenced abundantly in the works offered here, MacTaggart is an artist who adores his material, a fact immediately apparent to the viewer. There is a sensuality to his handling of paint, and a great richness. As Harvey Wood described so vividly; “His skill with paint is like the exquisite cutting of a lapidary artist”. Not only was he an interesting and notable member of the so-called Edinburgh School of Artists, MacTaggart was also a leader amongst them, serving as President of the Royal Scottish Academy where he is remembered for his energetic and astute tenure. Described as having a “crusading spirit”, he was responsible for promoting and assisting the Arts Council to launch a series of major painting exhibitions, sponsored jointly by the Academy. Thanks to his efforts, works by Braque, the Blau Reiter Group, Delacroix, Modigliani, Soutine and Corot graced the walls of the Academy and served to inspire a new generation of aspiring artistic talented in Scotland.

An Arts & Crafts brass spirit kettle, stamped Benson, arched handle, patent burner, outswept legs with pointed pad feet, 26.5cm high, c.1900

An early 20th century mahogany rectangular travelling decanter box, the push fitting cover enclosing graduated spirit bottles, 19.5cm high

A mid 20th century surveyor's theodolite, Hall Bros, Purley Way, Croydon, No 40416, retailed by J.A Reynolds & Co Ltd, Birmingham, cased, c.1940, the tripod 152cm high (closed); a telescopic surveyor's measuring staff; a William Marples & Sons spirit level, cased (3)

A 19th century brown salt glazed stoneware bar top advertising spirit barrel, lettered Whiskey and sprigged with royal coat of arms, eagles, fruiting vine and recumbent lions, the brass tap stamped Lumley & Co, 26cm high, c.1860

A ROLLS-ROYCE DECANTER BY CLASSIC STABLE with chrome grille and enamel badge, with a chrome plated bronze Spirit of Ecstasy, stamped to the bas

A ROLLS ROYCE "KNEELING LADY" MASCOT the kneeling Spirit of Ecstacy', nickel plated, fitted to a wooden display base, markings under wings, the mascot 8cm high not including base

Victorian Embossed Metal Spirit Kettle, raised on a stand. Lovely engraved style, measures 15" tall. Together with an EPNS silver salver.

A small brass cased swivel telescope with integral compass and spirit level. Marked to top "Ross London". Approx. 13cm tall x 20cm long.

A collection of Stuart crystal including six tumblers, six red wine glasses, six sherry glasses and six liquor glasses, together with six similar white wine glasses and three spirit decanters (a/f)

Attributed to Nancy Fouts (American, 1945-2019), two abstract sculptures, the first comprised of an Oriental hardwood songbird/linnit birdcage filled with dried chicken's eggs, together with a smashed and repaired glass spirit bottle also filled with hollow chicken eggs (possibly resin). The caged sculpture: 23.5cm x 20.5cm x 24.5cm. (2)Footnote: Provenance: Direct from the estate of Nancy Fouts (1945-2019)See the Dawsons website article for further information

A small group of Waterford Crystal itemscomprising a wine and spirit decanter and jug in the Colleen pattern, another claret jug raised on circular foot, a salt and pepper raised on circular star cut foot and a mantlepiece clock in the shape of a miniature grandfather clock with a quartz movement, all decanters present with stoppers and all pieces bearing the Waterford mark to the base, (7)largest approx 34cmCondition: Items are generally in good condition with no large chips or cracks present, some minor marks to the rims and the bases of each, salt and pepper screw tops are corroded

RUSSIAN: A tapering silver spirit tot with floral decoration. Approx. 15 grams. Est. £30 - £50.

A quantity of silver plated wares including spirit kettle, part tea sets, trays, also some brassware, flatware, pair of small silver desk candlesticks and another, condiment set, set of six cased George V silver teaspoons, also a Georgian silver spoon and

Arabic white metal hip spirit flask with presentation inscription "MAJOR GIBSON BARRIE MBE FROM ALEXANDRIA VOLUNTEER AMBULANCE UNIT 1940-1943", 12.5cm tall, 217g gross

Bassett Lowke O gauge model railway live steam spirit fired 2-6-0 tender locomotive 33 LNER green

Bassett Lowke O gauge model railway live steam spirit fired 2-6-0 tender locomotive black, (lacking spirit reservoir) 

Mamod live steam spirit fired TE1 steam traction engine

A collection of handmade dolls by Julia Hills, Anne Neville and possibly others including Red Riding Hood, a spirit type doll etc., also two Karine Dubois de Marseille terracotta statues 

OLD DUDDINGSTON blended Scotch whisky, bottled to commemorate the centenary of Duddingston Golf Club 1895-1995 by Waverley Vintners Ltd. 70cl 40% abv. (label reads: "A one hundred year old blend of sportsmanship and friendship in the true spirit of the game")

BOWMORE Bicentenary very old Islay single malt Scotch whisky, bottled to commemorate the 200 year anniversary of the Bowmore distillery 1779-1979, spirit distilled "from ten different years between 1950 and 1966" mostly from sherry casks. 75cl 43% abv. in black glass bottle styled from an old spirit bottle held in the Morrison family collection from around 1760. The bottle comes in its original wooden box with fitted interior, stopper and with certificate of authenticity, bottle number 7,798 of 24,000

Nine Gordon and Macphail "AS" special vatting Scotch whisky miniatures bottled to commemorate the marriage of Prince Andrew and Sarah Ferguson from spirit distilled in 1959 and 1960 including GLENDRONACH, MORTLACH, LINKWOOD, GLEN GRANT, PRIDE OF STRATHSPEY and MACPAHIL'S, each 40% abv. in clan tartan boxes, (9)

Twelve Bachmann Branch-Line OO model railways rolling stock wagons including 33104 R Taylor & Sons Dundee, 33200 12 ton fruit wagon, 33225 12 ton shock absorbing wagon hybar, 33411 plank wagon with Ford Capri, 33400 plank wagon H Lees & Son, 33500 Royal Daylight, two 33500 oil tank wagons Briggs of Dundee, 33504 Fins Motor Spirit, 33506 Shell Electrical Oils and two 33505 Castrol Oil, each boxed, (12)

AN ASSORTMENT OF TOOLS TO INCLUDE A 110V TRANSFORMER, SPIRIT LEVELS AND CHISELS ETC

A MOTOR 'BP' SPIRIT BRASS FRAMED MIRROR 36CM X 37.5CM

A JCB GARDEN VAC, A GARDEN GROOM AND A SPIRIT LEVEL

Victorian hallmarked silver oval hip or spirit flask with screw on lid retained by a chain, the body engraved with initials BA and Earl's coronet above, London 1872, maker Jane Brownett, also marked P & F Shafer 27 Piccadilly, height 10.5cm, weight 79g all in 

George V hallmarked silver spirit hip flask with hinged bayonet cap, Sheffield 1932, James Dixon and Son, height 9cm, weight 76g all in

In the manner of W.A.S. Benson Arts and Crafts copper spirit kettle on wrought iron stand, H73cm

Silver plated ware including Elkington salver, Walker and Hall, spirit flask, tantalus, pestle and mortar etc

Silver plated ware including Walker and Hall, Mappin and Webb food servers, tray, spirit flask, cigarette box, bronze mortar and Art Deco cigarette box

Silver plated ware including a spirit kettle, retriever with duck, teaware, cutlery, lighters, trays, chamber stick, 18th/19thC copper skillet, Art Nouveau pewter dish, novelty man holding a basket etc

A late Victorian silver-mounted leather purse, possibly Ludwig Krumm, Birmingham import 1900, to/w three glass quadrant spirit flasks with harlequin-enamelled silver screw tops, George Bedingham, London 1900, in fitted crocodile leather cylindrical box (fourth flask lacks top and broken at the shoulder), and a cut glass desk seal (uncut with intaglio seal), in Asprey leather box (3)

Royal Doulton 'Spirit of the Wild' rearing white horse on wooden circular base. Together with another two Royal Doulton horses, one a foal and a Beswick Shire horse. (4)(B.P. 21% + VAT)

Two boxes of metalware to include brass companion set, various brass candlesticks, brass chamber sticks, copper spirit kettle, good quality silver plated basket with swing handle, etc. (2)(B.P. 21% + VAT)

Collection of metalware to include; petrol cans, copper and brass horn, copper kettle, pair of candlesticks, large vintage spotlight etc. (B.P. 21% + VAT)  Shell motor spirit, the other is very indistinct

Various copper, including ale warming pans, coal scuttle, spirit kettle and burner stand etc

Various brass, Indian Cloisonné bowl, including spirit kettles, watering can, Vintage car horn etc (boxful)

A collection of spirit barrels, brewery items etc (boxful)

An Arts and Crafts brass spirit kettle on stand, height 31cm

Boxed willow tree free spirit figurine. P&P Group 1 (£14+VAT for the first lot and £1+VAT for subsequent lots)

Large builders spirit level. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Surface Master 48 inch spirit level. Not available for in-house P&P, contact Paul O'Hea at Mailboxes on 01925 659133

Hobinjatovo Henintsoa, "The Savika", unframed oil on canvas, 130 x 90cm, c. 2020. A Malagasy custom practiced especially by the Betsileo (southern coast of Madagascar) of the brave men who fight with the ferocious zebus, a spectacular fight against the zebus showing the fighting spirit the bravery and the recognition of the men especially towards the young girls. Shipping to the UK £125.

Pedro de Vargas (Montilla, Córdoba 1553 - activo hasta 1596)"Immaculate Conception, Mary crowned by angels" Oil on canvas 152 x 123 cm.  Picture painted at the time that he was living in Cuzco, Peru. A painter from Cordoba, who, like many other painters from the South of Spain, although most of these came from Seville, went to live in Peru, where he gave training in painting to indigenous artists.  The painting comes with a certificate by Professor Alba Choque Porras, dated in Lima on 5th April 2021. The extensive study notes, among other points, that: “This painting depicts the theme of the Coronation of the Virgin Mary, but under the title of the Immaculate Conception.  Pedro de Vargas was undoubtedly inspired by a 1574 print by Cornelis Cort which depicts the Coronation of the Virgin Mary, following a painting by Federico Zuccari… But additionally,, in this painting the Virgin Mary wears the characteristic garments associated with the Immaculate Conception, a white tunic and a blue cloak.  The cloak in the painting maintains the parameters of the engraving meticulously by including the embroidery at the edges of the fabric, which the artist has gilded. This iconographic theme is what is most remarkable.  The style of the painting is mannerist, with the lengthening of the figures, the twisting and positions of the hands, necks and mannerist gestures and postures.  Mannerism was still active even after the first decades of the 17th century in Latin America.”  Professor Alba Choque Porras continues in her description of the painting presented here: “In this study we attribute the painting to the artist from Cordoba, Pedro de Vargas, due to its technique, characteristics, and the treatment of the figures of the characters, comparing them with other paintings which have been proven to be by the artist. Pedro de Vargas was considered to be a master artist for the Jesuit order, and Bernardo Bitti’s most important collaborator in Peru. He arrived in Lima in 1575 where he joined the Society of Jesus at the age of 21, when he was already a professional painter.  He worked with Bitti in Lima and Cusco, and with him he moved to Juli (Puno) on Lake Titicaca.  He also spent time in Potosi and Quito. He had a restless and dissatisfied spirit, which is why he returned to Spain in 1596 and left the Society.  His artistic contribution fits within the mannerist style, his figures are slim and very beautiful. His paintings are often cited in the “Historia de la Pintura Cusqueña” (History of Cusco painting) by José de Mesa and Teresa Gisbert (1982), where he is mentioned in the 1576 Catalogue of the Jesuit Order as: “a novice of the age of 22, Diocese of Cordoba, he is a painter and gilder.” From 1577 for a period of eight years, he worked alongside Bitti, not only on paintings but also making the altarpieces, reliefs and sculptures for the churches of the order.  Gisbert also notes: “It is possible that [Pedro de] Vargas left some paintings in the Cuzco area that have not yet been identified.”  From that period, a painting of Saint Barbara kept in the church of Martín de Tours de Huarocondo, in Anta, Cusco is attributed to Pedro de Vargas. in 1587, after finishing the mannerist altarpiece for the Society of Jesus (now located in the collection of the Cusco Regional Museum) he returned to Lima and then, under the orders of the Superior General Atienza, he left for Quito, forming part of the second expedition of the Jesuits to this city, which at that time belonged to the Viceroyalty of Peru.  There is information about what he was doing circa 1591 due to the art he left in the city.  There is later evidence of Vargas’ activity in Potosi (Bolivia) circa 1592.  After his time in Potosi, he must have gone to La Paz, where he left an important triptych reredos of the “Madonna and Child surrounded by venerable Jesuit saints” which we include in the analysis to reveal the similarities with the painting in this lot.  Vargas returned to Lima and in 1593 he turned forty, having spent nineteen years as a Jesuit.  In 1596 he left the Society of Jesus and went to work in Trujillo (Peru) and in Quito, before returning to Spain.Finally, the study compares this painting to others by Vargas: “We mention the “Madonna and Child surrounded by venerable Jesuits” from his time in the city of La Paz, Bolivia (which at that time also belonged to the Viceroyalty of Peru).  The central detail of the reredos depicts Mary with very similar features to those in the Pedro de Vargas painting we are analysing, both in the hair and the poses as well as the viewpoint from below.  Moreover, the gesture of the hands which can also be appreciated in the accompanying saints’ and the child’s hands in the Potosi reredos, are characteristic of Vargas. Also, Vargas’ style is also recognisable by relating it to the Saint Barbara (dated approximately between 1577 and 1587) which he produced while he was in Cusco, in which the gestures of the hands and the saint’s facial features are clear to see." 

Automobilia and Petroliana Interest - a single sided rectangular shaped enamel sign, "MOTOR SPIRIT STORE. CAUTION. SMOKING, STRIKING MATCHES OR THE USE OF NAKED LIGHTS IN OR NEAR THIS STORE IS DANGEROUS AND IS STRICTLY FORBIDDEN. BY ORDER.", white lettering on a red background, Protector Eccles 2/30, 46cm x 61cm

A Staffordshire pearlware commemorative spirit flask, circa 1800, painted with initials EWP, and moulded in relief to either side with classical subjects within a leaf and berry band border, 19cm highCf. J. & G. Lewis, PRATT WARE (1993), p. 207 for an almost identical flask.Condition Report: Rim restored.Condition Report Disclaimer

Royal. A Victorian gold woodscrew novelty propelling pencil, Walter Thornhill & Co, dated 1877, with countersunk head, shank engraved SANDRINGHAM XMAS 1877, 93mm, marked Thornhill 16, 23.5g Provenance: Almost certainly given by King Edward VII (when Prince of Wales) to his equerry Major - General Sir Arthur Ellis (1837-1937) (Gentleman Usher or Extra Gentleman Usher to Kings Edward VII, George V, Edward VIII, George VI and Queen Elizabeth II) at Christmas 1877; his son Major Gerald Ellis (1872-1953) Gerald Ellis by whom given to the Honourable Rosemary Seymour, nee Scott-Ellis (1922 - 2017) of Thrumpton Hall, Nottingham; thence by descent to the present vendor. By the 1870's the firm of Walter Thornhill & Co had become renowned for the ingenuity and elegance of (in the opinion of a writer for 'The Queen') the firm's novelty in knicks-knacks. These included, in December 1876, a range of Christmas Novelties, such as the 81 tonne gun arranged as a telescope pencil case or as an etui balloon sewing necessaire incorporating a vinaigrette, travelling desks and bags, perfume and spirit cases and game cabinets... new shoe paper knives... silver champagne pencil... silver bellows scent bottle... and a silver screw pencil case... Good condition

A Victorian silver tea kettle, of pear shape, the domed lid with bud finial and integral hinge, chased with flowers and rocaille, the lamp stand having conforming cast openwork apron, scrolling legs and shell feet, spirit lamp, crested, 42cm h, fully marked by Wrangham & Moulson, London 1853 and further stamped Lambert & Rawlings Coventry St London, 88ozs Provenance: George Fitzroy Seymour (1923-1994) of Thrumpton Hall, Nottingham, by whom inherited from his grandmother; thence by descent to the present vendor Good overall condition with some light polish wear and residues, spirit lamp lacking the small domed extinguisher, no holes, splits or repair

An early 1900s French tinplate airship rattle and tooter, with spirit finish, the airship is rotated to rattle and a horn in the end of stem, impressed France E.C. Depose --5¼in. (13.5cm.) long (slight wear and neat repair at join along top of airship)

A Collection of Garden Tools, Spirit Level, Wall Clock etc