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Lot 285
A box of assorted tools: 5 Sorby chisels2 chisel blades (Marple)3 chisels un-named1910 Blacksmith made chisel formeran oil stone in wooden case2 hand Bit and Brace drills2 calipers (engineers)a Victorian wooden carpet stretcher5 assorted white metal bearing scrapers17 gimletts from 3inch up to 19inch1 20inch round file with wooden handle3 barrel (wooden) augers4 adjustable scribes1 14inch metal and wood square1 wooden spirit level 8 inch1 wooden glue scraper 7.5inch1 Coopers ring driver metal1 adjustable 3 pairs of pliers
Lot 52
A MISCELLANEOUS SELECTION OF ITEMS, to include a small quantity of costume jewellery such as brooches, a glass butterfly pendant, yellow metal acorn pendant etc, a selection of wristwatches to include a lady's rolled gold Roamer, Spirit, Lorus, Limit etc together with a white metal plastic handled fork
![Artist: Wifredo Lam [imputee] (Cuban, 1902 - 1982). Title: "Sans titre". Medium: Oil on canvas. Date: Composed 1952. Dimensio](https://cdn.globalauctionplatform.com/4c0eecea-e48f-4cde-84cd-ac1d01601cab/4803d2a2-9f35-47ac-87e9-ac4e01844562/468x382.jpg)
Lot 1689
Artist: Wifredo Lam [imputee] (Cuban, 1902 - 1982). Title: "Sans titre". Medium: Oil on canvas. Date: Composed 1952. Dimensions: Overall size: 26 1/4 x 17 in. (667 x 432 mm).Lot Note(s): Signed and dated, center right; signed and dedicated, verso. Overall good to very good condition with no major issues noted (no holes, tears, repairs, flaking, stains, etc.); as found, unconserved, not relined; strong colors; could use a good cleaning; unframed; original stretcher with nails preserved. Comment(s): Lam, like many of the most renowned artists of the 20th century, combined radical modern styles with the "primitive" arts of the Americas. While Diego Rivera and Joaquin Torres-Garcia drew inspiration from Pre-Columbian art, Wifredo Lam was influenced by the Afro-Cubans of the time. Lam dramatically synthesized the Surrealist and Cubist strategies while incorporating the iconography and spirit of Afro-Cuban religion. Image copyright © The Estate of Wifredo Lam. [30068-15-3000]
Lot 450
Gr. Bronze nach Charles Sykes (Großbritannien, 1875 - 1950) "Spirit of Ecstasy", wohl 2. Hälfte 20. Jh. Hellbraun patiniert. Nach vorn gebeugt stehende Frauenfigur, d. v. langem, windbewegtem Gewand umfangenen Arme weit nach hinten gestreckt. Auf kl. Rd.sockel, seitl. bez. "Charles Sykes" sowie flachem, schw.-grauem Marmorsockel. Oberflächen partiell minim. ber. Ges.H 56,4 cm Nach d. Skulptur, d. Vorbild d. Kühlerfigur v. Rolls Royce wurde (1911).
Lot 855
A 19th century painted occasional table, possibly Italian, purchased from Portmeirion and believed to have been the table on which Noel Coward wrote 'Blithe Spirit', the circular top painted in green with white highlighted fruiting vine border raised upon eight curvilinear supports further supported by a carved leafy column terminating on three out swept cabriole legs with upturned feet, 61cm high X 74cm diameter Provenance; This table was formerly housed in Fountain Cottage at Portmeirion and sold by Director Michael Trevor Williams in the 1960's when the decision to modernise some of the village rooms. The original purchaser of this table was informed by Michael Trevor William that Noel Coward sat at this table and partly composed 'Blithe Spirit' during his stay at Fountain Cottage in 1941. This table has been privately owned since purchase and has recently been exhibited Portmeirion Village the 'Dome of Discovey (2019) exhibition. For condition information please view this lot on our website HERE.Please note, we do not publish any condition reports on the-saleroom.com, all requested condition reports will be available to view on trevanionanddean.com
Lot 140
Sam Troughton signed 6x4 Robin Hood colour photo. Troughton is a Shakespearean actor who has worked with the Royal Shakespeare Company. He has starred in the horror films Spirit Trap and Alien vs. Predator, and several television productions including Sky One's Hex. He has appeared in the SAS-themed drama Ultimate Force. From October 2006 he appeared in the BBC Robin Hood series (2006-2009), in which he features as Robin's ex-manservant, Much. Troughton's grandfather, Patrick, starred in the first Robin Hood television series in 1953. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 1858
GEORGE RUSSELL, "AE" (1867-1935) TWO GIRLS AND CHILD WADING Signed Æ in ligature lower left, oil on canvas 52 x 80.5m. Provenance: Mrs Annabel Huth Jackson, by whom purchased from the artist, March 1919; and thence by direct descent * Russell invariably signed his work with the unusual Æ monogram, shortened from the word Æon (simultaneously the mortal incarnation of the `Word of God` and the representation of the immortal self) and meaning `the lifelong quest of mankind`. This reflected his great interest in mysticism and the metaphysical philosophies, glimpses of which he addressed in a letter to the purchaser of this picture. In a letter to Mrs Annabel Huth Jackson, dated March 29th 1919 and acknowledging receipt of £31.10.0 for three pictures, Russell writes "Might I suggest that the two grey coloured pictures were intended to be framed in a kind of cream, almost white, flat frame as it by the white or pale cream that the local colour of the picture can best be thrown out and that they should have glass over them." With timid self-effacement, he added "I hope they will not prove too tiresome a possession." Subsequently, on about April 4th 1919, he wrote again to Mrs Huth Jackson about the recommended frame colour and size: ".. to be framed in pale cream enamel almost white in a flat frame about 3 1/2 inches and the pale colours will come out ever so much better than in the conventional gold frame. I think the picture of the two girls and child wading ought to have glass over it because it was painted on a very rough canvas which I got during the year when I could get no other in Dublin and dust lodges easily on the rough surface and is difficult to get out..". Russell added modestly, presumably in response to a request about meeting his patron, "I am afraid I would be a very disappointing person to meet, most literary men are as they are really nothing except at the moment a spirit blows through them and when it is silent they are just like everybody else and they put on airs and try to look inspired when they are not they are ridiculous." On a theosophical note, he observes that "All our superficial life is unreal, a mere mask through which now and then some reality deep within us speaks and our masks are not of much importance. I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not...You say you know me. Probably you do. My intention as I write is that I could write almost anything to you but that you would know it all already. ...I believe you and I have some kind of spiritual contact, while we live and after with all who are spiritually akin to us whether we see them or not... I would rather believe in the inheritance of the spirit than have millions of physical forms made inanimate." ++ Good condition; needs a light clean
Lot 1882
ALFRED WALLIS (1855-1942) A WEST COUNTRY SCHOONER ON A SWELL Oil and pencil on card 19 x 29.5cm. Provenance: A gift from Wallis to the vendor's aunt, Maud Bennett (an artist), following an introduction by the artist Archibald Standish Hartrick (1864-1950). * A West Country schooner rises on an Atlantic swell in stormy weather. Because of the strong wind, the ship carries reduced sail, a vivid experience for any seaman. In this painting Wallis draws on memories laid down during his seagoing days. Sven Berlin tells us that Alfred Wallis went to sea at the age of nine, crossing the Bay of Biscay in a schooner, and that he spent the next 16 years working as an ordinary seaman. This was the class of vessel that he worked aboard, and as a member of the crew his duties included climbing the ratlines (rope ladders) in all weathers, day and night, to make sail adjustments. In this and many of his other paintings of sailing ships Wallis reminds us of his vivid experiences at sea. In Wallis's day sail trading ships were a common sight as they carried all manner of goods around the coast of Britain and Europe to the Mediterranean and across the Atlantic. These vessels were often crewed by just five men. It was hard and demanding work and people who knew Wallis at that time regarded him as a good seaman. Documentary evidence in the form of ships' crew agreements shows that in 1876 Wallis sailed in the Penzance registered schooner Pride of the West (see photo) from Penzance to Cadiz and from there crossed the Atlantic to St John's, Newfoundland and Nova Scotia. He returned on a Devon registered schooner, Belle Aventure, leaving St John's on 7th August and arriving in Teignmouth on 4th November 1876 and was paid £6.12s.4d This painting is full of life and energy and details include the furled sails on the foremast and the blocks and ropes that were used to secure the sails. A painting of a ship on a voyage is said to symbolise the journey of the human spirit from cradle to grave. I would add that for Wallis depicting a ship rising on a great swell may also reflect his struggle against adversity. Wallis started painting at the age of 70, painting on discarded materials, particularly cardboard, and house paint and pots of enamel that he bought from the local store. This painting is a wonderful example; the verso reveals a period advertisement for lampshade paint (see image). Alfred Wallis often gave paintings away to neighbours, some of whom did not value them, believing that they could do as well themselves if they only tried. Many paintings were thrown away or burned. Nor was his work valued by the thriving community of artists living in St Ives at the time. One commented that Wallis was a crazy old man wasting his time creating rubbish.
Lot 431
§ David Nash O.B.E. R.A. (British 1945-) Birch Bowl, 1993 signed and dated 'David Nash / Otoineppu 93', birch(122cm high (48in high))Footnote: Provenance: Annely Juda Fine Art, London; Christie's, London, 16 December 2009, lot 163; Private Collection, UK. Exhibited: Hokkaido, Asahikawa Museum of Art, David Nash , June - July 1994: this exhibition travelled to Nagoya City Art Museum, July - September 1994; Ashiya City Museum of Art and History, November - January 1995; Saitama, The Museum of Modern Art, April - May 1995; Kamakura, The Museum of Modern Art, May - June 1995; and Ibaraki, Tsukuba Museum of Art, June - July 1995. Literature: David Nash, David Nash Otoineppu , Spirit of Three Seasons, Sapporo, 1994, p. 80 (illustrated); Norbert Lynton (ed.), David Nash , Thames & Hudson, London, 2007, p.104 (illustrated). Birch Bowl was created by David Nash when he was in Otoineppu, Hokkaido, Japan in 1993. He made several works in Otoineppu and the theme of the six exhibitions there was ’Spirit of Three Seasons’. In his own words the artist describes the special nature of the Otoineppu village as a place 'where the crafts and arts are very much alive’. ‘The village is alive with the art of growing and carving wood...All these factors...created a very special environment in which we could realise this project through the seasons of Spring, Summer and Winter 1993-94.' (See D.Nash, David Nash Otoineppu Spirit of Three Seasons , Sapporo, 1994). In conversation with the art critic Richard Cork in 2010, he asked Nash what he hoped to achieve with his work: ‘It’s got to be accessible and welcome visitor’s into it. I start with people’s familiarity with wood, through doors, floors, tables and domestic items. Most people are aware of how trees change during the seasons. The material is embedded into our daily lives. Then I enter into the deep history of trees and their culture. But I try to touch the wood as little as possible. I’m not interested in over-carving, polishing and craft. I don’t mind splinters, and I want it to crack. Trees stand for me as a threshold into the huge world of the environment.’ (Royal Academy Magazine, Summer 2010)
Lot 7
Howard Hodgkin (1932-2017)For Edward 1984 debossed with the artist's initials and dated 1984acrylic and gouache on card laid on cardboard in found frame20 by 27.2 cm.7 7/8 by 10 11/16 in.Footnotes:A frontispiece cut from the exhibition catalogue Howard Hodgkin: Forty Paintings, 1973-1984, Whitechapel Gallery, London 1985, with a dedication written by the artist in pencil, 'For Edward Love from Howard 1985', was found inside the frame of the picture, which was discovered posthumously. This work will be included in the forthcoming catalogue raisonné being compiled by The Estate of Howard Hodgkin.ProvenancePrivate Collection, UKAcquired from the above by the present owner circa 1995A work that was only recently re-discovered and is completely fresh to market after having remained almost entirely unseen since the artist gifted the painting to its namesake in 1985, For Edward is a veritable lost treasure, which will be included in the forthcoming catalogue raisonné compiled by the artist's estate. It is amongst those rare paintings that embody the spirit of an artist at his zenith – negotiating scale, composition and colour with outstanding tact. With paintings residing in museums internationally, including the Museum of Modern Art, New York, the Museu de Arte Contemporanea de Sao Paulo, Brazil, and the Centro de Arte Moderna, Lisbon, this represents an opportunity to acquire a work of exceptional quality with unique provenance, by one of the most prominent and celebrated painters of the post-war period. Upon encountering Howard Hodgkin's paintings, the transcendent quality and extensive appeal of his style is palpable and evident. Mastering an orchestral sweep and dapple of the brush, Hodgkin's paintings are harmonic in their affect, and none quite so precisely composed as in the present work, For Edward, from 1984 – the same year Hodgkin stepped up to the international stage exhibiting in the British Pavilion at the Venice Biennale, before he would go on to win the Turner Prize in 1985. Hodgkin's virtuosic brushwork is exquisite and hypnotizing, and the present work is a truly compelling and succinct example of the artist's talent as it translates into his expressive mark. Emerging from the Bath Academy of Art at Corsham in 1954 under the pupilage of William Scott, Hodgkin was an influence unto himself. Early inspiration came in The New American Painting exhibition of Abstract Expressionist artists at the Tate Gallery in 1959, and the significance of Rothko's planes of colour is never far. Yet he shunned the flatness of American Modernism, pushing the painting out of its frame and creating abstract depths of field that translate as windows onto a vivid and luscious landscape. As his close friend, the acclaimed writer Julian Barnes once wrote: 'H.H.'s paintings are not narratives. Mostly, they are memories. But it is not a case of emotion recollected in tranquility. Rather, it is emotion recollected in intensity. In that sense his pictures are operatic' (Julian Barnes, Keeping an Eye Open, London: Jonathan Cape, 2015, 260). Produced in a hugely important year for Hodgkin, For Edward is exemplary of the later period of his career that the artist was entering in the mid-1980s. As hasty as the paintings appear, he was in fact renowned for the meticulous and slow nature of his work, with many paintings taking years to complete. In For Edward, the refined brushwork and teeming chromatic scales of green and orange are a delight to behold at such an elegant scale, and wonderfully speak to the Hodgkin's lifelong appreciation for Indian art and culture.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 1
A. R. Penck (German, 1939-2017)Standart TTABTTT 5 1984 signed and titledacrylic on canvas160 by 130 cm.63 by 51 3/16 in.This work was executed in 1984.Footnotes:ProvenanceWaddington Galleries, LondonPrivate Collection, New YorkSale: Sotheby's, New York, Impressionist, Modern and Contemporary Paintings, Drawings and Sculpture, 8 October 1986, Lot 95Germans Van Eck Gallery, New York (AP102)Guy Pieters Gallery, KnokkeAcquired directly from the above by the present owner circa 1987ExhibitedLondon, Waddington Galleries, A.R. Penck, 1984Teeming with the symbols, cyphers and metaphors embedded in A.R. Penck's practice and executed at a pivotal moment in his career, Standard TTABTTT 5 is consummate example from the artist's celebrated oeuvre. Having remained in the same collection for over thirty years, the present work is a rare opportunity to acquire a painting, not only entirely fresh to the market, but also permeated with the intense atmosphere and raw vitality found in all of the artists best known and most coveted works in private and institutional collections.Born in Dresden in 1939, Ralf Winkler was old enough to see and remember the city burning in 1945. The traumatic experience and his life in a war-torn and soon to be separated Germany would influence his life and work profoundly. Taking the decision to remain in East Berlin after the wall had been erected in 1961, Winkler experienced artistic isolation, surveillance and censorship by the secret police. In 1957 he began a lifelong friendship with Georg Kern (later to become Baselitz) and after meeting the Gallerist Michael Werner in 1968, he started illicitly exhibiting in the West. To avoid the unwanted attention of the state and facilitate smuggling his paintings across the border Winkler used a variety of pseudonyms, including 'Mike Hammer', 'Theodor Marx', 'a. Y' and just 'Y'. It was 'A.R. Penck', adopted after reading the work of the geographer and geologist Albrecht Penck that eventually stuck.Penck's iconic 'Standart' works employ a lexicon of pictograph-like marks he referred to as building blocks. First developed in the 1960s and derived from the words 'standard' and 'art', with an echo of the German word 'Standarte', signifying a banner or flag, the term represented a universally accessible aesthetic, a standard art for all, which would transcend language, boundaries and borders and addressed complex, socio-political themes. Penck claimed never to have heard of conceptualism at the start of his career which would go on to span five decades, but whilst his art developed more or less in isolation behind the wall, it soon found wide spread appreciation in the West especially in the New York art scene that welcomed him with open arms. In 1980, Penck was forced to emigrate to the West and became part of a milieu of Neo-Expressionist painters which included Markus Lüpertz and Jörg Immendorff. In New York he met likeminded artists such as Jean-Michel Basquiat with whom he shared a great mutual respect and artistic exchange that is visible in both artists' works from that time. In 1984, Penck payed homage to his friend with a poem that was published in Basquiat's exhibition catalogue of the same year.In Standard TTABTTT 5 a monumental, almost life-sized central stick figure, part man, part abstract primitive deity, is surrounded by the rudimentary shapes and symbols that form Penck's artistic language. Executed in the vibrant colours Penck began to use more after emigrating to the West, the work conveys a vibrant energy and confident execution of an artist at the height of his career. Whilst this phase of his life coincided with a period of disillusionment caused by the major upheaval in his life, it was also a time of significant artistic recognition. The theme of duality in Standard TTABTTT 5, red against blue, a figure split by use of subtle colour variations, seems highly politically charged and appears to echo the strained relations between the Federal and Democratic Republics, two entirely opposed ideologies of Soviet Communism and Western Capitalism. The fluid, vibrant brush strokes and rhythmic composition pay homage to the artists love of Jazz music; Penck himself was a drummer and played in the band Triple Trip Touch in the late 1980s. Whilst Penck is often described as one of the fathers of Graffitism, his work is difficult to put into any category and his legacy is yet to be fully evaluated. Whilst his work is often associated with Keith Haring and Jean-Michel Basquiat, Penck's inspirations were manifold, ranging from Ernst Ludwig Kirchner to ancient cave paintings. His colourful pictorial language represents a constant dialogue between Primitivism and Art Brut, between painting and Street Art. Penck's work was included in the ground-breaking Zeitgeist show at the Martin-Gropius-Bau, Berlin (1982), A New Spirit in Painting at the Royal Academy of Arts (1981) and New Art, Tate (1983). Penck went on to participate in the 1984 Venice Biennale, the same year Standard TTABTTT 5 was painted, as well as in four editions of Documenta. His work fell out of favour after the heyday of the 1980s, but in recent years regained relevance and is seen as a significant influence on many contemporary artists. Today, his works are held in the collections of the Art Institute of Chicago, The Museum of Modern Art in New York, the National Gallery of Art in Washington, D.C., the Kunstmuseum Basel, and the Städel Museum in Frankfurt.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
Lot 91
A DIAMOND-SET 'HAPPY SPIRIT' PENDANT, BY CHOPARD The oval pendant with central glazed compartment, containing a floating brilliant-cut diamond collet within two further graduated floating oval frames, suspended from a twin filed cable-link chain, signed Chopard, numbered (Dimensions: Length of pendant: 4.2cm)(Length of pendant: 4.2cm)
Lot 718
CRICKET AND WHISKY INTEREST; an early 20th century pine advertising box, the interior of the lid decorated with two boys playing cricket, inscribed 'The Right Spirit, Teacher's Whisky', the inside of the base with a bottle of whisky inscribed 'The Whisky of the Good Old Days', width 43cm.Additional InformationThe outside of the box is scuffed and rather rough, but the interior is in good order.
Lot 237
"The Sporting Magazine or Monthly Calendar of the Transactions of the turf, the chase and every other diversion. Interesting to the man of pleasure, enterprize & spirit". Printed for J. Wheble. London. 1808. 22 x 14 cm. Beginnend mit April 1808 (Vol. 32). 292, 4, 88 Seiten mit ca. 13 sehr schönen Kupferstichen mit Tierdarstellungen (Pferde, Hunde u.a.). Halbledereinband mit Altersspuren
Lot 509
A SET OF SPIRIT SAFETY TESTERS, LATE 19TH C, COMPRISING FOUR GLASS AMPOULES OF RED, GREEN, AMBER OR BLUE LIQUID, AN IVORY THERMOMETER, THE LATTER MARKED GRAY & SELBY NOTTINGHAM, IN PLUSH LINED FITTED CASE INSCRIBED SAFETY SPIRIT TESTERS J L FINUCANE SHERWOOD NOTTINGHAM, A STAINED BOXWOOD CASED COMPASS, 19TH C AND A PART SET OF DRAWING INSTRUMENTS, CASED (3) Condition report Spirit testers in good condition, exterior of case lacking part of the black morocco covering
Lot 773
PO Terence M Kane 234 Squadron Middle Wallop Battle of Britain 1940 veteran signed The Spirit of Victory - Victory in Europe 50th Anniversary 1945 - 1995 cover, certified copy No. 13 of 15. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 777
Squadron Leader Charles G Frizell Order of the Cloud & Banner 257 Squadron and Flt. Lt Donald J Anderson 29 Squadron Battle of Britain 1940 veteran signed The Spirit of Victory - Victory in Europe 50th Anniversary 1945 - 1995 cover, certified copy No. 10 of 10. Good Condition. All autographs are genuine hand signed and come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £4.99, EU from £6.99, Rest of World from £8.99.
Lot 34
Longines Spirit automatic stainless steel gentleman's wristwatch, ref. L2.700.4, serial. no. 3350xxxx, circular black dial with luminous Arabic numerals, minute markers with five minute divisions, date aperture and sweep centre seconds, luminous hands, quick set date, cushion case, brown leather strap, 41mm - ** Longines box with outer cover, international warranty card stamped Cox & Son and dated 06/02/08 - Condition Report: - Movement - currently functioning. Dial - good. Glass - light surface marks. Hands - good. Case - light surface marks, some scratch marks to the case sides. Crown - adjusting correctly. Strap - replacement, generally good, some signs of wear. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 35
Longines Spirit chronograph automatic stainless steel gentleman's bracelet watch, ref. L2.705.4, serial no. 3301xxxx, circular white dial with luminous Arabic numerals, minute markers with five minute divisions, date aperture at the six position, subsidiary constant seconds and thirty minute recording dials and chronograph centre seconds, luminous hands, quick set date, Longines bracelet with butterfly clasp, 40mm - ** Longines box, international guarantee card (unstamped), guarantee booklet - Condition Report: - Movement - currently functioning, chronograph tested to one minute rotation and functioning correctly. Dial - good. Glass - minor light marks. Hands - good. Case - surface scratches to the case back. Crown - adjusting correctly, push buttons start/stop ok, resets just past twelve. Bracelet - light surface marks, wrist size 7.0'' approx. - Condition reports are provided for general guidance only. Please view images and further information can be obtained upon request. Gardiner Houlgate do not guarantee the working order or time accuracy of any lots. Due to the opening of the wristwatch case backs, it is recommended watches are re-sealed by professional technicians to ensure any stated water resistance is retained
Lot 604
Box 4 - Mixed Spirits Stara Sokolova plum Brandy Doppelkorn grain spirit Ognjena plum Brandy Geest Van Dassemus Eau-de-Vie Napoleon grape Brandy Domaine Tariquet blanche Armagnac Domaine Tariquet Bas-Armagnac Domaine Tariquet 1995 Bas-Armagnac Domaine Tariquet 12 years Bas-Armagnac Domaine Tariquet 15 years Bas-Armagnac
Lot 605
Box 5 - Mixed Spirits Ognjena apple Brandy Perun plum spirit Bardinet XO Geest Van Dassemus Eau-de-Vie Napoleon Brandy Braastad Cocktail edition CognacDomaine Tariquet blanche Armagnac Lozova VS Brandy La Morbida Grappa Domaine Tariquet 8 yr Bas-Armagnac Domaine Tariquet 12 yr Bas-ArmagnacDomaine Tariquet 1995 Bas-Armagnac
Lot 620
Box 20 - Mixed Spirits Pater Romanian fruit spirit Williams eau-de-vit Altes Schwarzwalder Kirschwasser Ouse Fukushima peach spirit Momentum Kirsch brand 1726Schwarzwalder Kirschwasser House of Barka grape spirit Beith Gheal Irish birch spiritEdelstahl Himbeergeist eau-de-vitAlter Marillen brand fruit spirit Alfred Schladerer fruit spirit Pater Romanian fruit spirit
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