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A collection of copperware including warming pan, 2 spirit measures, set of 3 strainers and a saute pan

A Small World Rhythm Clock, a Spirit of St Louis Clock, a barometer and another clock

A selection of cut table glass and ceramic coffee sets to include Dresden cups and saucers, a blue flanked and cut spirit decanter and stopper, 18th/19th century creamware strainer and other items

Engineers and Draughtsman's tools including parallel rule, tap and die set, dividers, spirit level,etc

Hornby 0 gauge rolling stock including a RS687, American Caboose, N.Y.C. livery no.2528, (Tank Car 'American Type' box); a RS 681 Snow Plough yellow & blue, boxed; RS 690 Banana Van 'Blue Label Fyffes Brand', yellow & red, boxed; a 'BP Motor Spirit' Oil Tank Wagon, gold large letter 'BP', cream, 'Castrol' Tank Wagon box; (4)

Books relating to North American Indians including Charles Miles, Indian & Eskimo Artifacts of North America, 1963 and Vincent Scully, Pueblo, Mountain, Village, Dance, 1975. (a lot) Provenance Dr Alan Black Collection.LiteratureRobert M. Utley. The Lance & the Shield, The Life and Times of Sitting Bull, 1993;Robert H. Lowe. Indians of the Plains, 1963;George Catlin. Letters and Notes on the Manners, Customs, and Conditions of North American Indians, 1973;Angie Debo. A History of the Indians of the United States, 1970;George Catlin. Life among the Indians, 1903;W. H. Davenport Adams. The Hunter and the Trapper in North America, or, Romantic Adventures in Field and Forest, 1877;Hilary Stewart. Looking at Totem Poles, 1993;Janet C. Berlo and Ruth B. Phillips. Native North American Art, 1998;Christian F. Feest. Native Arts of North America, 1992;Karl Bodmer. The American Indian;Ronald P. Koch. Dress Clothing of the Plains Indians, 1977;Virginia More Roediger. Ceremonial Costumers of the Pueblo Indians,1961;Dee Brown. An Indian History of the American West Bury my Heart at Wounded Knee, 1972;Frank Waters. Book of the Hopi, 1978;Paul Johnson. A History of the American People, 1997;Stan Padilla (compiled and edited by). A Natural Education, Native American Thoughts and Ideas, 1992;Museum of Northern Arizona. Native Peoples of the Colorado Plateau, 1992;Chief Seattle. How can one sell the air? Chief Seattles Vision, 1992;Thomas Page (text by). The Civilisation of the American Indians, 1979;Impact. Time Among the Ancient, 33 Postcards;John C. Ewers. Blackfeet Crafts, 1986;Carrie A. Lyford. Ojibwa Crafts, 1982;Gladys A. Reichard. Weaving a Navajo Blanket, 1974;Vine Deloria Jr. and the Critique of Anthropology. Thomas Biolsi and Larry J. Zimmerman (edited by). Indians & Anthropologists,1997;John C. Ewers (editor). Indian Art in Pipestone, George Catlin’s Portfolio in the British Museum, 1979;David W. Penney. North American Indian Art, 2004;David Morrison. The Diamond Jenness Collections from Bering Strait, 1991;William Wildschut and John C. Ewers. Crow Indian Beadwork, a descriptive and historical study, 1985;William C. Orchard. The Technique of Porcupine Quill Decoration among the Indians of North America, 1971;Carrie A. Lyford. Quill and Beadwork of the Western Sioux, 1982;Robert H. Lowie. Indians of the Plains, 1985;William Wildschut and John C. Ewers. Crow Indian Beadwork, a descriptive and historical study, 1959;J. C. H. King. Smoking Pipes of the North American Indian, 1977;Jake Page. In the Hands of the Great Spirit, the 20,000 year history of the American Indians, 2003;Carl Waldman. Atlas of the North American Indian, 1985;Michael Johnson. The Native Tribes of North America, A Concise Encyclopaedia;M. G. Johnson and C. F. Taylor. Early Warrior Costume of the Sioux and Blackfeet, London: English Westerners Society 1983;John Anson Warner. The Life & Art of the North American Indian, 1975;Colin F. Taylor Ph. D (editorial consultant). Native American Arts & Crafts, 1995;Smithsonian. All Roads are Good, Native Voices on Life and Culture, 1994;Tom Hill and Richard W. Hill Sr (edited by). Creation’s Journey, Native American Identity and Belief, 1994;Peter Bolz and Hans-Ulrich Sanner. Native American Art, The Collections of the Ethnological Museum Berlin, 1999;Colin F. Taylor Ph. D. The Plains Indians, a cultural and historical view of the North American plains tribes of the pre-reservation period, 1997;Glenn E. Markoe. Vestiges of a Proud Nation, The Ogden B. Read Northern Plains Indian Collection, 1986;Norman Bancroft-Hunt and Werner Forman. The Indians of the Great Plains, 1981;Smithsonian. Spirit of a Native Place, Building the National Museum of the American Indian, 2004;Nancy-Lou Patterson. Canadian Native Art, 1973;W. Haberland. Art of the World, North America, 1968;Bertha P. Dutton. Indians of the American southwest, 1975;Vincent Scully. Pueblo, Moutain, Village, Dance, 1975;The Metropolitan Museum of Art. Masterworks from the Museum of the American Indian,1973;Jim Schoppert. Instrument of Change, Retrospective Exhibition, 1997;T.R. Fehrenbach. Comanches, The Destruction of People, 1975;Ann T. Walton. After the Buffalo were gone, the Louis Warren Hill, SR., Collection of Indian Art, 1985;Peter T. Furst and Jill L. Furst. North American Indian Art, 1982;Sarah Peabody Turnbaugh and William A. Turnbaugh. The Nineteenth Century American Collector: A Rhode Island Perspective, selections from the Museum of Primitive Art and Culture, 1991;Valérie Chaussonet. Crossroads Alaska, Native Cultures of Alaska and Siberia, 1995;Father Peter J. Powell. To Honour the Crow People, 1988;Ted J. Brasser. “Bo’jou, Neejee!”, Profiles of Canadian Indian Art, 1976;Leroy H. Appleton. American Indian Design and Decoration, 1971;Charles Miles. Indian & Eskimo Artifacts of North America;(60)

Books and magazines relating to North American Indians. Provenance Dr Alan Black Collection.LiteratureWilliam S. Laughlin. Aleuts: Survivors of the Bering Land Bridge, 1980;G. H. S. Bushnell & Adrian Digby. Ancient American Pottery;William W. Fitzhugh and Valérie Chaussonnet (edited by). Anthropology of the North Pacific Rim, 1994;John Gattuso (edited by). Native America, Insight Guides, 1991;Lar Hothem. North American Indian Artifacts, 1980;Ruth M. Underhill. Red Man’s America, 1971;George Cantor. North American Indian Landmarks, A Travellers guide, 1993;Paula Gunn Allen. The Sacred Hoop, Recovering the Feminine in American Indian Traditions, 1992;William C. Ketchum, Jr. The Art of the Golden West, 1996;Royal B. Hassrick. The Colourful Story of North American Indians, 1975;Josepha Sherman. Indian Tribes of North America, 1996;Dan Lacy. The Lost Colony, 1972;George P. Horse Capture, Anne Vitart, Michel Waldberg, and Richard West, Jr. (contributions by). Robes of Splendor, Native North American Painted Buffalo Hides, 1993;The University of British Columbia. Northwest Coast Indian Artifacts from the H. R. MacMillan Collections, in the Museum of Anthropology, 1975;The University of British Columbia. Indian Masterpieces from the Walter and Marianne Koerner Collection, in the Museum of Anthropology, 1975;Beverly Gordon and Melanie Herzog. American Indian Art, The Collecting Experience (catalogue), 1988;Alan & Gill Bridgewater. Carving Totem Poles and Masks, 1991;Nigel Cawthorne. The Art of Native North America, 1997;David M. Fawcett and Lee A. Callander. Native American Painting, Selections from the Museum of the American Indian, 1982;J. C. H. King. Thunderbird and Lightning, Indian Life in Northeastern North America 1600-1900, 1982;H. P. Mera. Pueblo Designs. 1970;Ellen Woods. American Indian Artifacts, How to identify, evaluate and care for your collection, 1997;Geoffrey Turner. Indians of North America, 1979;Franz Boas. Primitive Art, 1955;Jason Hook and Martin Pegler. To Live and Die in the West, The American Indian Wars, 1999;Eagle/Walking Turtle. Indian America, A Traveler’s Companion, 1989;Marz and Nono Minor. The American Indian Craft Book, 1978;Heritage House. White Slaves of the Nootka, Narrative of the Adventures and Sufferings of John R. Jewitt while a Captive of the Nootka Indians on Vancouver Island – 1803-05, 1987;John G. Neihardt. Black Elk Speaks, the Life story of a Holy Man of the Oglala Sioux as told to John G. Neihardt (Flaming Rainbow), 1961;Charles S. Rhyne. Expanding the Circle, the Art of guud san glans, Robert Davidson, 1998;Josepha Sherman. The First Americans, Spirit of the Land and the People, 1996;American Heritage Publishing, Alvin M. Josephy, Jr. (editor in charge). The American Heritage book of Indians, Introduction by John F. Kennedy, President of the United States, 1961;Rayna Green with Melanie Fernandez. The British Museum Encyclopaedia of Native North America, 1999;David M. Jones and Brian L. Molyneaux. Mythology of the American Nations, An Illustrated encyclopaedia of the gods, heroes, spirits, sacred places, rituals and ancient beliefs of the North American Indian, Inuit, Aztec, Inca and Maya nations, 2004;Virginia Vidler. American Indian Antiques, Art and Artifacts of the Northeast, 1760 – 1900, 1976;Wilson Duff. Images stone b.c. Thirty Centuries of Northwest Coast Indian Sculpture, 1975;Joseph P. Donnelly, S.J. (translated and introduced by). Indian Life in the Rocky Mountains, 1840 – 1847, Wilderness Kingdom, The journals and paintings of Father Nicholas Point, 1968;Herman J. Viola. The Indian Legacy of Charles Bird King, 1976;Museum of Anthropology and Ethnography. Text by T. Ganiushkina, R. Razumovskaya, I. Shavrina, an album presenting a variety of objects providing an insight into the history, home life, religious beliefs and applied art of various peoples i.e. Tlingit, Aleutians, Eskimos, Papuans and others. 1973;Norman Feder. American Indian Art (2);National Geographic. Vol. 185, No.6 June 1994;National Geographic. Vol. 180, No.4 October 1991;Gilbert T. Vincent (text by). Masterpieces of American Indian Art from the Eugene and Clare Thaw collection, 1995;The Studio (magazine) February 1941;Richard Conn. Native American Art, in the Denver Art Museum, 1979;Time-Life Books (editors of) and Benjamin Capps (text by). The Old West, The Indians, 1973;Davis Thomas and Karin Ronnefeldt. People of the First Man, Life among the Plains Indians in their final days of glory, 1976;M Gidley. With One Sky Above Us, Life on an Indian Reservation at the Turn of the Century, 1979;Douglas Congdon-Martin (text by and photography with). Lelooska The Traditional Art of the Mask, Carving a Transformation Mask, 1996;Susan Bradley (edited by). A Guide to the Storage, Exhibition and Handling of Antiquities, Ethnographia and Pictorial Art, British Museum Occasional Paper No. 66, 1990;(50)

Books relating to North American Indians. Provenance Dr Alan Black Collection.LiteratureDean Snow. The American Indians, their archaeology and prehistory, 1976;Anna Lee Walters. The Spirit of Native America, Beauty and Mysticism in American Indian Art, 1989;Don & Debra McQuiston. Dolls & Toys of Native America, 1995;Susan M. Pearce. Eskimo Carving, 1985;Colin F. Taylor (Editorial Consultant). Native Americans, The Indigenous people of North America, 1991;Geoffrey Turner (Pitt Rivers Museum University of Oxford). Hair Embroidery in Siberia and North America, 1976;Janet Catherine Berlo, Bruce Bernstein, T. J. Brasser, N. Scott Momaday, Allen Wardwell, W. Richard West. Native Paths, American Indian Art from the Collection of Charles and Valerie Diker, 1998;William W. Fitzhugh and Aron Crowell. Crossroads of Continents, Cultures of Siberia and Alaska, 1988;Barbara Isaac (edited by). Hall of the North American Indian, Change and Continuity, 1990;Jonathan Batkin (compiled and edited by). Splendid Heritage, Masterpieces of Native American Art from the Masco Collection, 1995;Susan E. Harless (edited by). Native Arts of the Columbia Plateau, The Doris Swayze Bounds Collection, 1998;Leslie Drew & Douglas Wilson. Argillite, Art of the Haida, 1980;J. C. H. King. Artificial Curiosities from the Northwest Coast of America, Native American Artefacts in the British Museum collected on the Third Voyage of Captain James Cook and Aquired through Sir Joseph Banks, 1981;John C. Ewers. Plains Indian Sculpture, A Tradition Art from America’s Heartland, 1986;Lar Hotem. Collectors Guide to Indian Pipes, Identification and Values, 1999;A. M. Leskov and H. Müller-Beck (Hrsg.). Artische WALJÄGER vor 3000 Jahren, 1993;Bill Holm. Spirit and Ancestor, A Century of Northwest Coast Indian Art at the Burke Museum, 1987;David W. Penney. Art of the American Indian Frontier, 1992;Seattle Art Museum. The Spirit Within, Northwest Coast Native Art from the John H. Hauberg Collection, 1995;Lená Taku Wasté. These Good Things, Selections from the Elizabeth Cole Butler Collection of Native American Art, 1997;Richard Conn. A Persistant Vision, Art of the Reservation Days, 1986;Hood Museum of Art, Dartmouth College. Patterns of Life, Patters of Art, 1987;Richard Conn. Circles of the World, 1982;Jane Alison (edited and produced by). Native Nations, Journeys in American Photography, 1998;Lar Hothem. North American Indian Ornamental & Ceremonial Artifacts, 1990;J. G. E. Smith, Museum of the American Indian. Arctic Art: Eskimo Ivory, 1980;Barbara A. Hail and Kate C. Duncan. Out of the North, The Subarctic Collection of the Haffenreffer Museum of Anthropology, Brown University, 1989;Caroline Crabtree and Pam Stallebrass. Beadwork, A World Guide, 2002;Theodore Brasser. Native American Clothing, An Illustrated History, 2009;Barbara A. Hail. Hau, Kóla! The Plains Indian Collection of the Haffenreffer Museum of Anthropology, 1980;David. W. Penney. Native American Art, 1994;(31)  

Books relating to North American Indians including costume, designs, history, crafts and Sacred Circles exhibition catalogue. (41) Provenance Dr Alan Black Collection.LiteraturePaul E. Kennedy, Dover Publications, Inc., New York, North American Indian Colouring Book, 1971;Maria Naylor (edited by). Authentic Indian Designs, 1975;Richard C. Schneider. Crafts of the North American Indians, A Craftsman’s manual, 1972;John Mack (edited by). Masks, the Art of Expression, 1994;Michael A. Weiner. Earth Medicine-Earth Foods, Plant Remedies, Drugs, and Natural foods of the North American Indians, 1972;W. Ben Hunt. Indian Crafts and Lore, 1973;W. M. Bray, E. H. Swanson, I. S. Farrington. The Ancient Americas, 1989;Cyril B. Courville. Southwest Museum Leaflets, Trade Tomahawks, 1963;Hilary Stewart. Totem Poles, 1990;Geoffrey C. Ward. The West, An Illustrated History, 1996;Peter L. Macnair, Alan L. Hoover and Kevin Neary. The Legacy, Tradition and Innovation in Northwest Coast Indian Art, 1984;Eva Wilson. North American Indian Designs, British Museum Pattern Books, 1984;J. C. H. King. First Peoples First Contacts, Native Peoples of North America, 1999;Joanna Cohan Scherer with Jean Burton Walker. Indians, Contemporary photographs of North American Indian Life 1847-1929, 1974;Hilary Stewart. Cedar, Tree of Life to the Northwest Coast Indians, 1984;Josephine Paterek. Encyclopaedia of American Indian Costume, 1994;Dan L. Monroe, Richard Conn, Richard W. Hill Sr, Suzan Shown Harjo and Jon R. Grimes (exhibition curators). Gifts of the Spirit, works by Nineteenth Century & Contemporary Native American Artists, an exhibition in the Peabody Essex Museum, Salem, Massachusetts, 1996-1997;Natalie Tobert (editor). Feet of Ingenuity, A Catalogue of Footwear, 1993;Karen Duffek. A Guide to Buying Contemporary Northwest Coast Indian Arts, 1983;Fritz Scholder. An Intimate Look, 2008;Ralph W. Andrews. Indian Primitive, Northwest Coast Indians of the Former Days;The Detroit Institute of Arts. Art of the American Indian Frontier, a Portfolio, 1995;Frances Densmore. How Indians Use Wild Plants for Food, Medicine & Crafts, 1974;J. C. H. King. Portrait Masks from the Northwest Coast of America, 1979;Hilary Stewart. Looking at Indian Art of the Northwest Coast, 1979;Colin F. Taylor. Native American Weapons, 2001;National Museums of Canada. The Covenant Chain, Indian Ceremonial and Trade Silver, 1980;Walker Art Center, Indian Art Association, The Minneapolis Institute of Art. American Indian Art: Form and Tradition, 1972; Christian F. Feest (edited by). Studies in American Indian Art, A Memorial Tribute to Norman Feder, 2001;Colin F. Taylor. Native American Hunting and Fighting Skills, 2003;Honolulu Academy of Arts. Of Pride and Spirit, North American Indian Art from a Private Collection in Hawaii, 1981;Martha Black. Bella Bella, A Season of Heiltsuk Art, 1997;Lillian A. Ackerman (edited by). A Song to the Creator, Traditional Arts of Native American Women of the Plateau, 1995;Arts Council. Sacred Circles, Two Thousand Years of North American Indian Art, 1976;Frederick E. Hoxie (editor). Encyclopaedia of North American Indians;Colin McEvedy. The Penguin Atlas of North American History to 1870, 1988;James Austin Hanson. Metal Weapons, Tools, and Ornaments of the Teton Dakota Indians, 1975;Michael G Johnson. American Woodlan Indians, 2003;Akicita. Early Plains and Woodlands Indian Art from the collection of Alexander Acevedo, 1983;R. Gabor. Iroquois Reprints, Costume of the Iroquois, 1983;C. A. Lyford. Iroquois Reprints, Iroquois Crafts, 1984;Colin F. Taylor. Buckskin & Buffalo, the Artistry of the Plains Indians, 1998;Richard Conn. Robes of White Shell and Sunrise, Personal Decorative Arts of the Native American, 1974;(41)

A Lega zoomorphic spirit mask Democratic Republic of the Congo with pigment decoration, fibre and cloth, 44cm high, on a stand. (2) Provenance Owen Hargreaves, London. Richard Nathanson Collection, London.

A George V silver and glass spirit hip flask, spirit level aperture with locking cap and removable beaker with gilt interior, by Goldsmiths and Silversmiths Co Ltd, hallmarks London 1912, height 12.5cm Very good original condition, no damage or restoration, cap has a few dents on the top and body has a couple of smaller dents on corners, lightly surface scratched all over, cup has engraved initials P.L-P, gilt interior of cup is bright, hallmarks are rubbed.

A set of 3 cut-glass silver-topped spirit bottles in original cylindrical leather case, hallmarks London 1927, case height 20cm, diameter 12.5cm Glass all perfect, silver mounts perfect, case hinge and strap are broken

A collection of silver plate, including a three piece tea set, spirit kettle, tureen and sauce boats (two trays)

A George III mahogany and line inlaid banjo barometer, with hygrometer, thermometer, convex mirror, silvered dial and spirit level inscribed Macrae, 34 Aldgate, 95 cm high

FULHAM POTTERY, stoneware "patent chronometer" design spirit flask impressed, "E. Asell, New Inn, Marylebone Lane", 5.5" height, also treacle glazed spirit bottle depicting toper sitting on barrel, 9.5" height

TREEN, pastry cutter, egg cup stand, love token, metal and mounted spirit level etc,

Urquhart, D, The Spirit of the East London: Henry Colburn, 1839. 2 volumes bound together, 8vo, folding map, plate, original purple cloth gilt, neat ownership signature to front free-endpaperFootnote: Provenance: From the library of Kingcausie

Grieve, Christopher Murray - "Hugh MacDiarmid" A large collection, comprising First Hymn to Lenin. Unicorn Press, 1931, number 31 of 50 numbered and signed copies, black half morocco, t.e.g.; Scots Unbound. Stirling, 1932, original brown cloth; Scottish Eccentrics. 1936, original cloth; At the Sign of the Thistle. Stanley Nott, [n.d.], dustwrapper; Three Hymns to Lenin. [n.d.], signed by the author, original cloth, dustwrapper; [with others]. Albannach, 1938, original wrappers; The Islands of Scotland. 1939, original cloth, dustwrapper; Stony Limits and Scots Unbound. 1956, inscribed to Barbara & Ernest [Niven], original cloth; The Battle Continues. 1957, inscribed to Professor Knight, original cloth, dustwrapper; David Hume. 1961, signed by the author, original wrappers; Hugh MacDiarmid a festchrift. 1962, inscribed to Barbara and Ernest [Niven], dustwrapper; Poetry Like the Hawthorn. Duncan Glen, 1962, number 26 of 128 copies, signed by publisher, original wrappers; A Drunk Man Looks at the Thistle. 1962. The 200 Burns Club, signed by the author, original cloth, dustwrapper faded; The Blaward and the Skettly. Duncan Glen, 1962, one of 10 copies printed, inscription by Duncan Glen Six Vituperative Verses. Saltire Press, 1964, number 23 of 25 copies, wrappers; Whuchulls. 1964, number 90 of 100 copies, wrappers; Song of the Seraphim. [n.d.], limited to 600 copies, original cloth, dustwrapper; The Ministry of Water. 1964, number 65 of 125 copies signed by the author, original wrappers;Two Poems [The terrible crystal], Skelmorlie, 1964, limited to 55 copies, unsigned, original wrapper partly faded; The Fire of the Spirit. Duncan Glen, 1965, number 107 of 350 copies, original wrappers slightly creased at head; The Burning Passion. 1965, number 2 of 35 copies, original wrappers; On a Raised Beach. Preston: The Harris Press, 1967. 4to, number 27 of 200 copies, original wrappers; The Uncanny Scot. 1968, one of 40 copies of the first edition specially bound in blue buckram and signed by the author, original cloth, dustwrapper; [with Duncan Glen]. The MacDiarmids. A Conversation. 1968, number 47 of 55 copies signed by the authors, original wrappers; Early Lyrics. Akros Publications, 1968, number 93 of 350 copies, original wrappers; Direadh I, II and III. Frenich, 1974, number 168 of 200 copies signed by the author, quarter morocco, slipcase; Metaphysics and Poetry. 1975, number 9 of 25 copies signed by the author, original wrappers; Glen, Duncan. The Literary Masks of Hugh MacDiarmid. Dumalban Press, 1964. number 29 of 55 copies signed by Glen, illustrations done by hand, original wrappers; Glen, Duncan. Hugh MacDiarmid, an Essay. 1977. 4to, number 67 of 300 copies signed by the author, original wrappers, slightly faded; and 2 numbers of Akros, Aniara (adapted from Swedish by MacDiarmid), & Iain Crichton Smith's The Golden Lyric... MacDiarmid. 1967, original wrappers (quantity)

A rare bottle of 'D-an-D. Deoch-an Doruis' Fine Old Scotch Whisky by Searle, Gordon Ltd, London:, red foil seal to neck and label as per title with address for No 4 Cullum Street, London, high shoulder level, circa 1916.*Notes- Searle Gordon & Co. Ltd was established by Charles Henry Searle and William Ireland Gordon in 1877 as wine & spirit exporters at No 36 Crutched Friars Street, London. In 1882 the partnership was dissolved when William Gordon retired and Henry Searle continued the business under the same name. The company is listed at No 4 Cullum Street, London in Harpers Manual 1920.

A lacquered brass four screw vernier theodolite by Stanley, London:, the sighting tube with rack and pinion adjust, silver calibrated vertical circle and circle plate with compass signed as per title, together with accessories in a fitted wooden case (compass glass and needle missing, one spirit bubble damaged, in need of attention)

A lacquered brass level by Stanley, London:, number 93326, signed to main tube as per title, fitted spirit bubbles and compass platform on a tripod adjustment base, together in a fitted case and with wooden tripod.

A mid-20th century novelty 'Mr Bartender' corkscrew, together with a group of advertising spirit pourers.:

A Victorian copper saucepan with lid (possibly later) and copper and brass spirit kettle (burner missing)

A box of plated wares comprising meat dome, entrée dishes, spirit kettle and cruet stand together with assorted jewellery boxes some containing jewellery

Art Nouveau design copper and brass spirit kettle on stand, the kettle with writhen decoration.(B.P. 24% incl. VAT)

Set of six Russian silver 875 grade Vodka/spirit goblets with bright cut decoration 280 grams .

6ft spirit level and Stabila 10" level

Nikolai Konstantinovich Roerich (Russian, 1874–1947)Old Chapel in Valdai CountyTitled [in Cyrillic] "Watchtower in Pskov" on original Louisiana Purchase Exposition label verso, oil on panel12 x 16 in. (30.5 x 40.6cm)Executed in 1903.PROVENANCE:Private Collection, California.EXHBITED:"The Louisiana Purchase Exposition" (also known as the "Saint Louis World's Fair"), Saint Louis, Missouri, April 30-December 1, 1904, no. 65 (per original label verso).NOTE:Nicholas Roerich is a towering figure in Russian painting of the late 19th and early 20th centuries. During his storied career, he was also an archaeologist, poet, lawyer, and philosopher who widely travelled-living in his native Russia, Finland, England, India, and America. He also achieved fame as a theater set designer, was a devout follower of mysticism, and was an ardent advocate for the preservation of cultural heritage, objects, institutions, and monuments. Begun as a private initiative, he is credited with developing proposals establishing what became known as the 'Roerich Pact:' an inter-American treaty signed into law in 1935 to protect cultural property in times of war.Born in St. Petersburg, Russia to an upper middle class family, Roerich showed an early aptitude for drawing and enrolled in the Imperial Academy of Arts in 1893. He later directed the Imperial Society for the Encouragement of the Arts. Considered a Russian Symbolist, he studied with the landscape painter Arkhip Kuindzhi. Said to have executed over seven thousand works during his lifetime, he was inspired by "historic sources: folklore, legends, and ancient monuments. But greater emphasis is placed by him on intuition and the penetration into the spirit of the Past" (M.S. Nanjunda Rao, Nicolas Roerich, New Delhi, 1992). In Russia, Roerich completed monumental paintings, church mosaics and frescoes. In 1903, when the present work was painted, Roerich and his wife Helena embarked on a forty city tour of ancient Russian cities.As noted in Nicholas Roerich, A Quest & A Legacy (Manju Kak, ed., New Delhi, 2013, pp. 11-12), the artist's work may be divided into three periods: his Russian period, his Theatrical Phase, and his Mountain Phase, the third following his arrival in Bombay in 1923. The present work was likely painted during the first of these phases and is part of a series of nearly seventy works referred to as the 'Architectural Studies' from his travels though old Russian towns. As Kak notes, "The deep patriotic-nationalistic roots of Roerich led to his search for Russia's pagan beginnings and folklore and they were the subject of his earlier paintings" (Kak, op. cit., pp. 192).Painted with rich applications of dark-toned impasto, the present work depicts an old chapel, its cupola apparently adorned with a cross, framed by the surrounding forest, invoking a spiritual, mystical ambience.

Louis Welden Hawkins (French, 1849–1910)Muse Erato on a Deserted Beach (Spirit of the Waves)Signed 'L. WELDEN HAWKINS' bottom right, oil on canvas17 x 21 3/4 in. (43.2 x 8.6cm)PROVENANCE:Private Collection, Berkeley, California.

Two oak drawers containing hand tools, cobbler's last, spirit level, oil lamp bases

A COLLECTION OF SILVER, to include a spirit label inscribed 'Whisky', approx 6.5oz

including napkin rings, spirit labels and other assorted items

SEVEN BOXES OF CERAMICS, GLASS, TEA/DINNERWARES etc, to include Wedgwood jasperwares, Prinkash items, Poole Pottery teawares, Denby teawares (Oberon, Sundance, Spirit-Line, Summerfields etc), Mason's 'Country Lane', Royal Doulton 'Blooms' dinnerwares for four settings, Chance glass, Dartington glass etc

Beach Boys LPs, twenty albums including Wild Honey, Surfer Girl, Beach Boys Today, All Summer Long, Spirit of America, 62/65, Beach Boys Concert and more - various years and conditions

Psychedelic LPs, seven UK release albums of mainly Psychedelic Rock comprising Blue Cheer - New! Improved Blue Cheer, Norman Greenbaum - Spirit in the Sky, A Group Called Smith - Same, Cat Mother - The Street Giveth…, Bee Gees - Odessa, Spanky and Our Gang - Greatest Hits and First Impression / Good Earth - Swinging London - various years and conditions

A Collection of Figural Ornaments to include Franklin Mint Limited Edition Spirit of Purity, Akeni, Oriental Lady, Three "Heavens Radiant Glory" Musical Angels and a Resin Figure of a Seated Girl, Mostly AF

A Tray Containing Various Nao and Other Bird and Animal Ornaments, Aynsley Wild Tudor Vases, Wedgwood Clementine Boxes, Glass Vases and a Spirit Decanter

A Tray of Spirits To Include Gordons and Bathtub Gin, Captain Morgan Rum, Bells Whisky, Vodka, Welsh Spirit Set, Brandy etc

A Tray of Cut Glass to Include Spirit Decanter, Water Jugs, Vases, Bowls, Biscuit Barrel etc

A vintage early 20th Century coffee spirit kettle of cylindrical brass construction having a glass cover with heater below. Measures 40 cm tall. 

THREE ITEMS OF MOTORING MEMORABILIA comprising A Spirit of Ecstacy Mascot on plinth base 19cm high, a Chrome plated Cornish Imp Radiator Cover 13cm across and an enamelled MMotoring Badge

Epns spirit kettle on stand

A 19th century brass cylinder coffee grinder, a pair of brass candlesticks, vintage brief case, motor spirit tin and other items

A chrome Spirit of Ecstasy, on black marble socle

Four spirit levels, together with forty cutting discs

A Chinese straw-glazed stoneware 'earth spirit', Sui (581-617) -- H.: 35,5 cm (the figure) H.: 39,5 cm (the figure on stand)Ê Provenance: Acquired from Polak antiques, Amsterdam, in 1992, for 8.500 Dutch Guilders. (original invoice present) --- Condition reports, high resolution images or extra images will be made available on request. They will be uploaded to our website. Please send us your requests on info@rm-auctions.com

A George V silver spirit kettle on stand, of London shape with ebonised finial and handle, the stand with row of ventilation holes and raised on four reeded legs terminating in lion's paw feet, a/f missing spirit burner, Harrison Brothers & Howson (George Howson), London 1912, 45.9toz total, 25 by 12.5 by 32.5cm high overall.

A Bassett-Lowke O gauge LMS Stanier 2-6-0 Mogul live steam, spirit fired live steam locomotive and tender, in maroon livery, Special Limited Release, model No. 99002, boxed.

A brass and oak track level gauge with spirit level, hand engraved 'Hull'. 56.5" inch measurement, length 157cm.

Two modern silver hallmarked spirit labels, Scotch and Sherry, weight 0.75oz approx.

Two Victorian silver spirit labels, one 'PORT', maker TJ, London 1874, the other 'SHERRY', maker R.E.A., London 1837, both foliate cast and pierced and with belcher link chains; together with a modern 'SHERRY' label (3)

An antique Qing Dynasty Chinese Cloisonne brush pot of usual cylindrical form having inlaid and brightly coloured enamel flower decoration, bronze patterned rim and raised on tripod base. Each leg having a mask depicting a spirit with tongue out. Measures; 18cm.

An early to mid 20th Century African tribal Guro tribe mask being hand carved and painted and raised on purpose made stand. The mask representing the spirit of Gu, the wife of Zamble a supernatural being. The shapes having notable features on masks, are almond shaped eyes, rounded foreheads, finely sculptured nose and mouth with small but sprouting lips with finely sculpted headdress with figure atop. Measures; 109cm x 15cm x 15cm.

DOGON SPIRIT POSSESSION CARVING with human figure above, old woodworm and heavy wear, early to mid 19th century, 54cm Note: Masks of this age are rare. Provenance: Collection of Julien Harris (1910-2011) - see lot 1066.

NKISI NAIL FETISH, wood, iron, glass, leather, fetish figure of a spear thrower with central looking glass insert, nails hammered into body with leather bound between, leather cap, remnants of white pigment to eyes, used to seal contracts, early 20th century, 34cm Note: These figures were considered too powerful to be kept in the village. Every time a contract or agreement was struck a nail would be driven into the fetish and the spirit would keep the parties to their promises. Very few remain in private hands – they are mostly in public collections such as the Metropolitan Museum of Art in New York, Accession No 2008.30 and the Carnegie Museum of Art. Provenance: Collection of Julien Harris (1910-2011) - see lot 1066.

Autumn and the Poet (study) chalk pastel on board (Dimensions: 54 x 75cm )(54 x 75cm )Footnote: Provenance The Artist, by whom gifted to Margaret Lliffe née Goodwin, by descent within the family Sale; TW Gaze, Diss, Suffolk, June 2011, where purchased by the present owner We are grateful to Dr Gill Clarke for her assistance with cataloguing this lot.Evelyn Dunbar (1906-60) was part of a neglected generation of artists whose lives and artistic output are now being reappraised and their contribution to the practice and spirit of twentieth century British art duly recognised. Dunbar had a profound understanding and love of the countryside and it is notable that she was the only woman commissioned, on a salaried basis, to record women’s activities on the Home Front during the Second World War. These works for the War Artists’ Advisory Committee and in particular her lyrical, yet unsentimental paintings of the Women’s Land Army provide an important documentary record of women’s contribution to the war effort.   Post war Dunbar gave more reign to her imagination and allegorical work and while living in the small village of Enstone and employed as a visiting teacher at The Ruskin School in nearby Oxford commenced work on Autumn and the Poet. Perhaps her most significant allegorical painting Autumn and the Poet was finally finished in her studio at Staple Farm, near Wye, Kent during 1958-59 having absorbed her intermittently for the previous 10 years or so. This present work is one of a number of preparatory depictions for Autumn and the Poet. The two figures symbolise “Autumn and the Poet” and are set against a backdrop of verdant Cotswold countryside at harvest time. Dunbar used her husband Roger Folley, an agricultural economist as her model for the poet, the completed work now in Maidstone Museum interestingly shows ‘the Poet’ reclining rather than seated. Much else remains the same including as here the mellow colours which convey the feeling of autumn glow as the light begins to fade. In Autumn’s right hand is gripped a long white sheet which bears the fruits of the earth, a comment on life brought to fruition. There is a sense of time passing and like the seasons, it comes full circle. Although the seasons and nature endure, Dunbar, a Christian Scientist may have had a sense of her own life coming to an end, and her inner thoughts to this effect are fused deep within the contours of the painting. She died suddenly within a year of finishing the painting. Evelyn Dunbar had signed Autumn and the Poet,a mark that it was completed.  Gill Clarke author of Evelyn Dunbar War and Country published by Sansom & Company.

Marsh Landscape oil on canvas, unframed (Dimensions: 76 x 102cm )(76 x 102cm )Footnote: Provenance With Beaux Art Gallery, London Exhibited Sheffield, Graves Art Gallery, Juda Collection , May -June 1967, cat.no.159 Together with his partner, the illustrator Richard “Dickie” Chopping, and Francis Bacon, Denis Wirth-Miller is credited with bringing the spirit of bohemia to Wivenhoe, a small fishing town on the Essex coast. Although the trio were remembered for their outrageous and hedonistic behaviour, Wirth-Miller was noted as a serious worker and is remembered for his distinctive paintings of East Anglia and Dartmoor. In 1939, despite lacking any formal training, Denis Wirth-Miller left school to become a professional artist. His work was first exhibited from 1944 and in 1953, a landscape painting was purchased by the Queen for the Royal Collection. Wirth-Miller’s career was sadly curtailed when, in 1975, due to a degenerative eye condition, he was forced to stop painting. Although he could no longer actively paint, Wirth-Miller remained interested and supportive of the development of young artists in Wivenhoe.Condition report: Oil on canvas which is unlined and attached to a wooden, open-window stretcher. The canvas tension is sound. There is an old tear at the upper right quadrant. The texture in this area is slightly uneven and the surface is matte, but it is generally acceptable from a normal viewing distance. Apart from this area the paint layer is in a good condition overall.

Three vintage/retro telephone handsets. Comprising a Swissvoice L7 in red & white with instructions; a black & white IDECT and a "Spirit of St Louis", SOSL Collection hands free set.

Five cut glass spirit decanters one by Webb Corbett

Three pairs of Edinburgh crystal spirit, wine and ships decanters