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TWO TREEN NOVELTY CONTAINERS 19TH CENTURY the first a DOG'S SPIRIT BARREL, with glass ends and a metal handle, 17cm wide; the other a CARVED BOX, in the form of a leather-strapped trunk, 13.5cm wide

GROUP OF EARLY PHOTOGRAPHS MID-19TH CENTURY to include a daguerreotype of a young man; an ambrotype of three siblings; an ambrotype of a girl with a book; an ambrotype of a girl with a dog; and a tintype of the exterior of Andrew Dunn Wine & Spirit Merchant, Glasgow

POLISHED 15CM ALUMINIUM SPIRIT ECSTASY ON WOOD PLINTH

A West German pocket balance; a vintage spirit level; and a set of vintage precision scales

A lot of professional cocktail making equipment to include three Monkey Shoulder cocktail shakers, together with two other Von Schef shakers, cocktail shaker filters, sieve, rubber and metal coasters, spirit bottle spouts, measures, various twizzlers and pounders and three brushed stainless steel canisters

A Royal Doulton 'Art is Life' limited edition bisque lion and lioness designed by Alan Maslanowski, numbered 130 from a limited edition of 950, supported on a perspex stand, height 29cm, together with a Beswick Spirit of Flight. (2)

Oil on canvasOil on canvas dating from between 1615-1619. Painted under the canons of the Lisbon School it is attributable to the painter Amaro do Vale who had allegedly produced it for a Lisbon church.In 1878/1879 it is taken to the chuck of Our Lady of the Consolation at the Castle.Of evident Italian influence it is centred on the iconography of the Virgin Mary surrounded by the Holy Trinity - The Father, The Son and the Holy Spirit over a lower plan of angels.At Lisbon's Museu Nacional de Arte Antiga there is a iron gall ink drawing attributed to Amaro do Vale (MNAA, inv.654)114x117cm

Two boxes of approx. 100 vintage younger children's books, story books and picture books, to include; The Pigs give a Party by Beatrice Lomax, illustrated by Hilda Boswell, The Moving Spirit How The Motor-Car Grew Up, Muffin's Own Story Book 1958, The Children's Hour by Lilian Rowles, The Adventures of Wallop by Joan Rickarby, Bobby and Anne in Beeloo in dust wrapper, Who Goes There? by Dorothy P Lathrop in dust jacket, Stories by Grimm in dust wrapper.Please see images for more titles and condition of books - some lovely reads!

Banksy (British, b. 1975)London, New York, Bristol (Heavy Weaponry), 2000 tagged Banksy (centre); dated and numbered 10/10 2000 (on the overlap)spray paint and emulsion on canvas 57 x 54 cm.22 7/16 x 21 1/4 in. This work is number ten from an edition of ten unique examples and is accompanied by a certificate of authenticity from Pest Control Office.Footnotes:ProvenancePrivate Collection, UKArtificial Gallery, LondonAcquired directly from the above by the present owner in 2015One of the definitive artists of the new millennium, Banksy has left an indelible mark on the walls of art history as a true maverick of the genre. In a unique work from a rare edition of 10, London, New York, Bristol (Heavy Weaponry), 2000, encapsulates the provocative, jocular spirit of a career defined by its irreverence, satire, and defiance. From his emergence as a figurehead of Street Art, Banksy has risen to the heights of global superstardom through a course of breakthrough exhibitions, political activism, and artistic showmanship. Here, his gritty style and piquant humour is on display with typical panache – a masterclass in stencil and spray paint on canvas. Known for his sardonic wit and pointed irony, Banksy has never shied away from a searing commentary of the art world that has embraced him nor the troubled politics and issues of his time. Like all great artists, Banksy's aloofness and ardent refusal to heed his now-celebrity status has only cemented his legacy as a true outlier and hero to the public who view him in the vein of Robin Hood, undermining and ridiculing the established order. He is the embodiment of that peculiarly British, self-effacing sense of humour whereby he mocks the faux seriousness of artists and the powers-that-be. He is polemic, scathing and satiric and everyone is a possible target, including himself.In true Banksy style, the present work is littered with a variety of symbols and motifs that have recurred throughout the Bristol-born artist's practice, standing in for his idiosyncratic style of commentary and mode of image making. An oversize barcode, an elephant backpacking a missile, and the names of the cities that early on bore the stencils of the lesser-known master in the 1990s and early 2000s. The painting feels charged with a veiled anti-war sentiment, mocking the commoditisation of military engagement. Banksy's own 'heavy weaponry,' however, remains his stencil and the art of the image, and London, New York, Bristol (Heavy Weaponry) reads as much a declaration of intent for artistic intervention in these locations as a critique of militant malpractice. Indeed, as Banksy's has recalled, 'as soon as I cut my first stencil I could feel the power there. I like the political edge. All graffiti is low-level dissent, but stencils have an extra history. They've been used to start revolutions and to stop wars' (the artist in 'The Story Behind Banksy,' Will Ellsworth-Jones, The Smithsonian, February 2013, online).His taste for theater, black humour and activism have distinguished him from his street art kin such as Blek Le Rat and Shepard Fairey, and placed Banksy in a category of his own. Undoubtedly, his anonymity and resilience as a political entity in his own right – who single-handedly became a symbol of hope stenciling graffiti in the Gaza Strip in 2015, and more recently launched an independent search-and-rescue vessel for asylum seekers adrift in the Mediterranean – has meant Banksy's legacy is unrivalled in its depth and scope not only in graffiti circles, but in the art world at large. At his core, he remains one of the greatest artists of our time, and the present work is a veritable embodiment of the adroit hand, cunning mind and values that have made him so celebrated and his works so highly sought-after.Presented here for sale is such a painting that demonstrates the British artist's indisputable and enduring currency as social commentator and contemporary artist. His technique remains singular and immediately identifiable. For so long the 'elephant in the room' of the art world, his legacy is secured as a definitive artist of the period, and London, New York, Bristol (Heavy Weaponry) stands as one of those most rare Banksy paintings on canvas that is a unique work from a very limited edition.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

André Masson (French, 1896-1987)Visages dans la nuit des fleurs, 1959 signed André Masson (lower right); signed and dated André Masson 1959 (on the reverse)oil and sand on canvas40 x 79.8 cm.15 3/4 x 31 7/16 in.Footnotes:The authenticity of this work has kindly been confirmed by the Comité Masson.ProvenanceGalerie Louise Leiris, ParisPrivate Collection, EuropeSale: Kunsthaus Lempertz, Cologne, Moderne Kunst, 29 May 2003, lot 791Collection Armin Hundertmark, CologneSale: Artcurial, Paris, Art Moderne II, 8 June 2006, lot 175Acquired directly from the above by the present owner'[Masson] remained an unusual element, unclassifiable, a type of quiver which traversed through the entire painting... Masson's world is not a world of shapes, like that of the Cubists, but a world of forces.'- Daniel-Henry Kahnweiler(Typescript slipped into a letter from Daniel-Henry Kahnweiler to Curt Valentin, 10 December 1941, Paris, Archives Masson. Quoted in C. Morando, André Masson Biography 1896-1941, 2010, p. 39). André Masson was an artist who defied categorisation. His technical versatility, experimental spirit and lifelong preoccupation with metamorphosis engendered a long and storied career, spanning Cubism, Surrealism and Abstract Expressionism. By the age of 11, he was a student at the Académie Royale des Beaux-Arts et l'Ecole des Arts Décoratifs in Brussels. At 16, he was awarded the Grand Prix de l'Académie for painting, and commenced his training at the École Nationale Supérieure des Beaux-Arts in Paris. His experiments with automatic drawing – the process of freely moving materials without planning or conscious thought – attracted the attention of André Breton, Surrealism's principal theorist, in mid-1920s Paris. After he relocated to New York City in the early 1940s to escape the Nazi occupation of Paris, Masson's spontaneous and emotive approach to painting influenced Jackson Pollock's development of his quintessential action paintings. A hallucinatory vision of cosmic clusters and fantastical syllabary, Visages dans la nuit des fleurs, 1959, synthesises Masson's Surrealist roots and his later Abstract Expressionism. Using his characteristic colle ensable ('sandy glue') technique, Masson threw an admixture of sand and glue onto the stretched canvas, then formed his painterly composition around the resulting three-dimensional islands. Writing to his friend and art dealer Daniel-Henry Kahnweiler at this time, Masson exulted in this 'extreme spontaneity... having only rhythm and the fire of inspiration as my starting point.' (Letter from Masson to Kahnweiler, 15 July 1955, quoted in Donation Louise et Michel Leiris: Collection Kahnweiler-Leiris, exh. cat., Paris, 1984, p. 144). Incorporating natural phenomena into his work, in imagery and in technique, was a constant motive. During his time in the United States, Masson became fascinated with the indigenous Iroquois culture, for whom the natural world is sacred and the night sky is rich in stories and deities. In Visages dans la nuit des fleurs, abstracted, face-like symbols appear to dance across the celestial scenery like omnipotent beings. The ebb and flow of sandy rivulets forms a rhythmic backdrop, punctuated by short, staccato strokes resembling comets. The resulting effect is a transcendental crescendo, a frenzied ritual of light, colour and dance. Visages dans la nuit des fleurs was produced during Masson's 1950s période asiatique, within which he incorporated the philosophies and calligraphic forms of Zen Buddhism. Masson was first introduced to the school of thought by the Japanese writer Kino Matsuo in Paris in 1930. After studying the East Asian collections of the Museum of Modern Art and the Boston Museum of Fine Arts in the 1940s, he began experimenting with ideograms – characters encapsulating the idea of a thing, without indicating the sounds used to say it. In Visages dans la nuit des fleurs, Masson morphs these characters into a nebulous syllabary. As explained by Carolyn Lanchner, 'a great attraction of Zen for Masson was its emphasis on the immediate mystical experience as the way to ultimate truth... In practice, conjuring the void brought forth in his painting a spontaneous effusion of his own past art whose tides were stemmed or redirected by the formal concerns of the sophisticated European artist.' (Carolyn Lanchner, 'André Masson: Origins and Development,' in André Masson, exh. cat., New York, 1976, p. 186). The explosions of bold colour across a starry sky also allude to Masson's personal traumas, which ignited his long-running fixation with destiny and the ambiguity of the human condition. After suffering a grave chest wound as a French infantry soldier in World War I, Masson was confined to a series of hospitals and one psychiatric ward. Recalling the battle of Chemin des Dames in April of 1917, during which he was immobilised and left lying helpless throughout the tumult of battle, Masson recalled, 'The indescribable night of the battlefield, streaked in every direction by bright red and green rockets, striped by the wake and the flashes of the projectiles and rockets – all this fairytale-like enchantment was orchestrated by the explosions of shells which literally encircled me and sprinkled me with earth and shrapnel' (Masson, quoted in exh. cat., W. Rubin & C. Lanchner, André Masson, New York, 1976, p. 30).This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

James Gillray (British, 1756-1815)Disciples Catching the Mantle: - The Spirit of Darkness Overshadowing the Priests of Baal (BM 10992) Etching with hand-colouring, 1808, on wove, published by H. Humphrey, London, with trimmed margins within the platemark, 400 x 340mm (15 3/4 x 13 3/8in)(SH)(unframed)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

The Macallan Lalique Genesis-72 year oldDistilled and bottled by The Macallan Distillers Ltd., Easter Elchies, Craigellachie.One of 600 decanters. In wooden presentation case within the original packaging accompanied by a crystal stopper and booklet. Engraved and transfer printed labelling. 70 cl. Single malt, 42% volume1 crystal decanterFootnotes:The Genesis decanter was released to celebrate the opening of The Macallan's newly-finished, award-winning distillery. One of only 600 bottles ever released, the exceptional 72-year-old spirit is housed in a Lalique crystal decanter, and a stunning wooden presentation case. Distilled in the 1940s and matured for a staggering 72 years, this spirit is one of the oldest expressions ever released by The Macallan. Nick Savage, Master distiller at the time, said: 'For its 72 years of maturation, the deceptively light colour hints that this is not an ordinary single malt. Reminiscent of a time gone by, it carries an exquisite balance of strong, sweet oak with the peaty spirit shaping its refined character'.World-renowned crystal makers Lalique have captured the essence of the distillery in the decanter, with numerous references throughout the design. The famous rolling lines of its roof are echoed in the rise and fall of the decanter's form, with the stopper reflecting the stunning, vaulted wooden ceiling. Each decanter is then encased in a bespoke presentation case designed by The Burgess studio, cabinet makers to Her Majesty The Queen, which also draws extensive inspiration from the architecture of the whisky's Speyside home. The Macallan Genesis 72-year-old is truly a celebration of collaboration between masters in the fields of whisky, crystal and architecture, and marks a new chapter in The Macallan story.Tasting notes:Colour:Golden amberNose:A delicate peat starts, leading to a soft, aged oak smoke. A body of refreshing citrus lemons and green apples, with a background of vanilla pods and raisins, with the smallest hint of ginger.Palate:Delicate peat smoke combines with a soft vanilla, and a surprising sweet oak smoke. A gentle wood spice combines with a delicate peat smoke, which gradually fades to leave a viscous mouth coating of citrus fruits and subtle green apples.Finish:Medium and fruity, with a sweet oaky mouth feel.For further information on this lot please visit Bonhams.com

CHOPARD: PAIR OF DIAMOND-SET 'HAPPY SPIRIT' EARCLIPSEach glazed to reveal a 'floating' brilliant-cut diamond within polished surrounds, signed Chopard, numbered, length 1.7cmFor further information on this lot please visit Bonhams.com

A 19th century mahogany banjo barometer, with a broken swan neck pediment, hydrometer, alcohol thermometer, convex mirror, silvered dial inscribed "L: Martinelli & Son, 62 King Street..." and a spirit level inscribed "S,. Calderara, london"

A selection of vintage tools to include a spirit level, clamps and other items, all contained in a tool box

[Clayton (Bp. Robert)] An Essay on Spirit, where in The Doctrine of the Trinity is considered In the Light of Nature and Reason... From the Dublin Edition,... 8vo Lond. 1751. LXIV, 152pp; Bound with, [Hopkins (Rev. Wm.)] A Sequel to the Essay on Spirit:... With some Observations relating to the Athanasian and Nicene Creeds. 8vo L. 1752. First Edn., [84]pp recent marble boards; [Clayton] The Bishop of Clogher's Speech Made in The House of Lords in Ireland,.... Feb. 1756. 8vo L. 1757. 31pp disbound; and also A Vindication of the Histories of the Old and New Testament, 8vo D. 1753. Second Edn., hf. title, 140pp disbound. As a lot, w.a.f. (3)

Whiston (Wm.) Memoirs of the Life and Writings of Mr. William Whiston... Written by Himself thick 8vo L. (for the Author) 1749; Bound with, Mr. Whiston's Account of the Exact Time when Miraculous Gifts Ceas'd in the Church, 8vo L. 1749; Bound with, [Sherlock] Thos. Ld. Bishop of Salisbury, A Sermon Preached at Salisbury... October 6th, 1745, On Occasion of the Rebellion in Scotland, 8vo L. 1744, with fold. table at end, cont. full calf, mor. label, good; also Mr. Whiston's Letter to the Rt. Hon. Earl of Nottingham, concerning the Eternity of the Son of God and the Holy Spirit, 8vo L. 1719. First Edn., [42]pp disbound; and 1 other Pamphlet. As a lot. (3)

Very Rare Presentation Copy[Clayton (Bishop Robert)] An Essay on Spirit, 8vo D. (S. Powell, for J.P. Droz,..) 1750. First Edn., LXV, 171pp, Limited Edition to probably not more than 30 Copies. in fine cont. mottled calf, raised bands, spine gilt in panels, mor. label. Bookplate of Col. Cooper. A very fine copy of this rare work. (1)* Presentation Copy, inscribed, 'To the Bishop of Elphin [X?] from the Author.'

AN EDWARDIAN BRASS TANTALUS, DANIEL AND ARTER LONDON, C1910, No G7021, ON MOULDED RECTANGULAR BASE AND A SET OF THREE CONTEMPORARY CUT GLASS SPIRIT DECANTERS AND STOPPERS, 33CM H Originally plated, brass dirty / discoloured but complete, mechanism working, no key, glass dirty but undamaged

AN ENGLISH MONTEITH GLASS, C1800, THE OGEE BOWL WITH NOTCHED RIM AND RIBS, ON STEPPED SQUARE MOULDED LEMON SQUEEZER FOOT, 10CM H, THREE REGENCY CUT GLASS SPIRIT AND CONDIMENT DECANTERS AND STOPPERS AND FOUR AND A PAIR OF EARLY 19TH C CUT GLASS SALT CELLARS, TWO WITH TURNOVER RIM (13) Good overall condition and an attractive group

Two spirit flasks, leather clad, one small (9.7 cm high) and one large (17 cm high)

A brass and copper spirit kettle, of square form with amber glass handle, and an Eastern brass jug, 18 cm high (2)

A glass spirit jar, H. 33cm.

An Edward VII silver tea kettle, by D & J Wellby, London 1909, 1327 grams gross, and together with a silver plated tripod stand with burner (see illustration). CONDITION REPORT: The kettle is in generally good order. There is no evidence of any repairs or any restoration. There are no cracks to the handle. The hinge to the lid operates as it should. There is a dent to the main body around the hallmark and other very small dings and blemishes but no significant problems. The kettle has a hinge mount beneath the spout where it will have originally have attached to a burner stand. The accompanying plated spirit burner is an associated piece. The stand is in generally good order but tarnished in places.

A Victorian plated spirit kettle on stand, foliate engraved and with stick form stand.

A Victorian silver plated spirit kettle on stand with burner together with a butter dish.

A late Victorian wooden cased silver plated extensive tea service, by Mappin Brothers Regent Street and London Bridge, and comprising large oval tray, circular waiter, small circular waiter, spirit kettle and stand, teapot, tea kettle stand, sugar basin and cream jug (see illustration). CONDITION REPORT: The width of the large oval tray including the handles is 70 cm. Excluding handles 55 cm. The width is 42.7 cm. The circular tray has a diameter of 35 cm. The small circular waiter has a diameter of 20.5 cm. The packing case dimensions are height 47 cm, width 73.5 cm, depth 32.5 cm. The large tray is in generally very good order with only very minor rubbing to the plating. The oval tray has more significant losses to the plated finish particularly around the centre. There is also some discolouration to the rear of the tray. The large kettle again has some losses to the plating (10%) particularly around the lid. The small waiter has +/- 50% of the plating missing on the top surface. The small teapot is in generally good order with a couple of minor dents. The coffee pot is in generally good order. The sugar basin and cream jug are also in generally good condition. The spirit burner is in generally good condition and has clearly seen little use.

A small Sheffield silver salver by Roberts and Belk 1967, together with a silver mounted spirit flask Sheffield 1941, maker rubbed.

LITERATURE: Eighteen books on the subject of jewellery and Objets d'Art: Antiquorum Auctioneers., The Magical History of Cartier (1996) Auction Catalogue Art Deco, (Grange Books: 2001) Boardman, J., Scarisbrick, D., Wagner, C., The Guy Ladriere Collection of Gems and Rings, (Philip Wilson: 2016) Christie's., Going Once: 250 Years of Culture, Taste and Collecting, (2016) Clais, A., Discovering Van Cleef & Arpels (2001) Day-Lewis, T. Hemmerle: Delicious Jewels (2011) de Guitaut, C., Royal Fabergé (2011) Emerald (Thames & Hudson: 2013) Foulkes, N., Nardi: Venezia (Assouline: 2012) Foulkes. N., Automata, (Editions Xavier Barral / Van Cleef & Arpels: Paris: 2017) Perles: une histoire naturelle (RMN ARTS DECORATIFS EXPOSITIONS: 2007) Pierrat., Collections Collectionneurs (2019) Pierre Berge & Associates., Vente Bijoux, Creations René Boivin, (2005) Auction Catalogue Scarisbrick, D., Rings: Jewelry of Power, Love and Loyalty, (Thames & Hudson: 2007) Sotheby's., Jewels from the Estate of Betsey Cushing Whitney, (1998) Auction Catalogue Sotheby's., The Jewels from the Estate of Thora Ronalds McElroy, (1991) Auction Catalogue Stourton. J., Great Collectors of Our Time: Art Collecting since 1945, (Scala Publishers: 2007) Van Cleef & Arpels: The Spirit of Beauty (2009) Exhibition Catalogue

A collection of stoneware flagons to include a Cooper Brown & Co. Brewery East Dereham and Adnams & Co. Limited Wine & Spirit Importers Southwold, a box of assorted plated wares, two oil lamps and a commode pot

Rolls Royce Memorabilia 'Spirit of Ecstasy' showroom letter opener; a motoring spirit flask and a travelling cigarette case. (3)

2 brass spirit kettles one with stand, brass and copper burner and copper burner

Vintage Valor Spirit Can

An attractive set of four etched spirit tots decorated with leaves and vines on sweeping pedestal bases. Approx. 8 cms high each. Est. £25 - £35.

An old porcelain spirit barrel. Est. £30 - £50.

A set of three heavy Georgian glass spirit tots on circular bases. Approx. 9 cms high each. Est. £25 - £35.

A small Georgian spirit tot of circular form. Approx. 7.5 cms high. Est. £40 - £60.

VARIOUS HAND TOOLS TO INCLUDE SPIRIT LEVELS, FOOT PUMP AND OUTSIDE LIGHT ETC

A CARRY CASE CONTAINING THREE VARIOUS SIZE MINOTAUR SPIRIT LEVELS

A METAL ' PLUME MOTOR SPIRIT...' MAN CAVE SIGN

A WOODEN FRAMED METAL SIGN 'MOTOR "BP" SPIRIT' SIGN

A mid-Victorian plated five o'clock tea kettle on stand, ornately decorated foliated scrolls, the hinged lid surmounted by a flower, swing handle, the spirit heater base raised on shell supports, 43cm overall

A large quantity of framed pictures and prints, to include a Steven Adely coloured pencil sketch, limited edition 42/100, hunting scene prints, Spirit of Kirkstead Michael Waller print, oil on canvas etc. (a quantity)N.B. This lot is sold on behalf of the Rotary Club of Grantham.

A pair of 1920's blue & white Christmas plates together with 2 early 20th century ceramic tureens. Plates marked and dated to reverse, Christmas compliments gifts from James Norris Ltd Wine & Spirit Merchants, Burslem & Hanley. Smaller tureen by John Maddock & sons, Adams. Larger dated 1903 by F Winkle & Co, Colonial Pottery in "Malvern" pattern.

Chas T Atkinson Ale Wine And Spirit Merchant, High Street, Northallerton Advertsing Poster 1899 with large colour hunting illustration 'Besieged', calendar listing various anniversaries to margins and shop details at bottom 25x35'', 64x89cm (framed and glazed)

Two trays of assorted glassware to include; some Waterford crystal drinking glasses, moulded pair of wine glasses, square section spirit decanters and stoppers, cake stand etc. (2)(B.P. 21% + VAT)

CARTON WITH SPIRIT LEVEL, CAMPING STOVE, VARIOUS HAND TLS, PAINT BRUSHES& A BROOM HEAD

2 STONEWARE JARS WITH HANDLE - 1 JOHN LOVIBOND & SON, GREENWICH BREWERY, 1 PAGE & SONS WINE & SPIRIT MERCHANTS, RAMSGATE & 3 STORAGE JARS

A vintage style white ceramic lamp in the form of the Spirit of the Wind. H.24x30cm

A SAPPHIRE BRACELET, BY ILLARIO, CIRCA 1955 The supple and articulated bracelet composed of two rows of baguette-cut synthetic sapphires between borders of gold beading detail, mounted in 18K gold, maker's mark for Illario, French import mark, length 18cm Brothers Carlo, Vincenzo and Luigi Illario were a family of goldsmiths/jewellers from Valenza. They established a jewellery firm in 1920, with each brother taking on their own position. Carlo, who was trained in Paris, headed the production, Vincenzo was a stone setter who also selected the precious gems and Luigi was head of administration. The brothers worked under their own name, as well as for bigger firms, and were involved with several different jewellery companies. Some of the most renowned goldsmiths in Valenza practised in their workshop, guaranteeing that each product was crafted with exceptional quality. The company brand from 1935 had been 26AL and the business name was under Carlo Illario e Filli. Traditionally, ownership was handed down from father to son and, in 1953, even Luigi's sons, Giovanni and Vittorio, became a part of the family business. From the end of the 1900s, Vittorio and his sons, Pier Luigi and Edoardo, carried on as owners of the company with the 'Illario 1920' logo. In 1996, Giovanni Illario, along with his sons Carlo and Gian Luca, agreed with Vittorio and his sons to set up a new company that would allow them to be more active in the foreign market. This led to a split in Societa Carlo Illario and to the creation of the new Societa Carlo Luca della Quercia which pursues the traditions and spirit of the original company. Their skilled craftsmanship, reputation of excellence and use of innovative goldsmith techniques caught the attention of well-established retailers. Throughout the 20th century, Casa Illario created unique pieces of haute joaillerie for the most famous Italian maisons: Bvlgari, Cusi, Faraone, Fasano, Fecarotta, Settepassi, Ventrella and others. The company's partnership with Bvlgari was particularly long standing, running from the 1950s through until the 1970s. In this time, Illario made many pieces for Bvlgari, including the now iconic Serpenti watch bracelet. Elizabeth Taylor was a consistent patron, whose personal style and love of dramatic jewels found its home in Illario's creations. Alongside manufacturing for other brands, Illario produced a vibrant assortment of jewellery under their own name. They were known for their fine gemstones and unusual materials, such as polychrome enamel, tortoiseshell and mother of pearl. Striving to stand out, Illario used new techniques in its pieces, such as black rhodium plating to create a contrasted look. The quality of the craftsmanship is clear in all jewels that bear the Illario name, making them highly desirable.

A silver-plated tea service and matching spirit kettle on stand, a small plated breakfast dish and a quantity of plated cutlery.

Leather travelling case with three silver topped spirit bottles, Charles Mappin, London 1914,

19th century e.p. spirit kettle on stand, half fluted body raised on pad feet

A group of various Georgian and other wine and spirit labels three wine labels, port, sherry, Madeira as capital letters, makers mark only, JN, all-over bright-cut engraving; a Victorian whisky label, Hilliard, Birmingham 1855, modelled as a leaf and pierced text; two Scottish George IV wine labels, J Hay, Edinburgh 1821, stamped and engraved for Madeira and Sherry; a pierced and cast label, Sterling mark only, Sherry; a wine label, makers mark only J&WB, J and W Boyd, Glasgow? stamped and engraved Lisbon; a plate on copper crescent label for rum

A George V spirit kettle and stand Henry Moreton, Birmingham 1918, the oval body of demi-fluted form, with vacant oval cartouche to one side of body and italic B engraved to the other, leaf clasped scroll handle and domed hinged lid, the stand with tapered Corinthian column legs to paw feet, with burner and chains(Height: 35cm, weight (all in): 44oz)Footnote: G S. May Esquire Private Collection.

A collection of drinking accessories to include; a pair of spirit labels, Birmingham 1953, stamped shaped panel form, grape and vine border, engraved for Gin and Whisky, a group of three silver cased pocket cork screws, the first of torpedo form slight threaded border G&G, Chester 1899; another 19th century, maker's mark only, WP conjoined, tapering form, simple line engraving; the third of ring handle to the screw and screw off cover, wrythen detail, maker's mark only, probably European(Weight (all in): 3.4oz)

19th century Samuel of Louth barometer incorporating a spirit level H 97 cm (slight damage to top)

One bottle Gaston de Lagrange VSOP Cognac, one Martell VS, a Williams Christ Pear Liquer, a bottle of Greek 'Aristocrat'  spirit and a Chilean Cabernet Sauvignon ( 5)

Poole pottery vase with blue ground, a Portmeirion 'Botanic Garden' vase, a Belleek dish and a Coalport 'Free Spirit' dolphin ornament (4) 

Large cut glass fruit bowl with broad whorl cut everted border, a cut spirit decanter with EPNS mount, an ovoid bubble glass paperweight and sundry decorative items