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A Victorian silver kettle on stand with spirit burner. London 1889. 12" high. 40ozs gross

Two vintage petrol cans - Pratts Perfection Spirit and Light Shale Oil

Two vintage petrol cans- Carburne Motor Spirit and Shell

Two vintage petrol cans - Pratts and Crown Spirit

Two vintage petrol cans - Shell Motor Spirit and National Benzole Mixture

Two vintage petrol cans - Shell Aviation Spirit and National Benzole Mixture

Two vintage petrol cans - Pratts and Mex Motor Spirit

Two vintage petrol cans - Esso and BP Motor Spirit

Rolls-Royce Subject Books. Old Contemptible by Charles Howard; Rolls-Royce and Bentley by Robson; Rolls-Royce Motor Cars; Spirit of Ecstasy; Radley Drives to Vienna by Kennedy; Rolls-Royce & Bentley Motor Car Engineer by Peter Hill; Rolls-Royce the best motor car in the World; Rolls-Royce 17EX; Street Muses of London. (9)

AN IMPORTANT AND RARE JADE 'MASK' PENDANT, HUANG, LIANGZHU CULTUREChina, circa 3300-2200 BC. Finely decorated to all sides and edges with neatly applied incision work depicting cosmic cloud scrolls, the present Huang has a prominently carved godhead mask located at the center of the front side, just beneath a zoomorphic bird head with a pointed beak at the top. Both wings are pierced with funneled apertures for suspension. The opaque stone is of a brown hue with beige clouding and dark brown inclusions.Provenance: From the Sir Percival David collection, according to an old paper label reading 'The Percival Collection, of Chinese Jades' and manually inscribed 'Zoomorphic Figure'. Collection of Harry Geoffrey Beasley, probably acquired from the above between 1923 and 1939, and thence by descent to his widow Irene Beasley. Collection of Alfred William Cowperthwaite, acquired from the above c. 1939 and thence by descent in the same family. Sir Percival David (1892-1964) was a Bombay-born British financier who is best known as a scholar and collector of Chinese ceramics, postal stamps, and jades. He became enamored with Chinese art after his visit to China in 1923 and started the Percival David Foundation to promote the research of Chinese art and culture. His collection grew to an astounding 1,700 pieces, which are now on display at the British Museum. Harry Geoffrey Beasley (1881-1939) was a British anthropologist and museum curator who developed an important ethnographic collection during the early 20th century that is now held in various British museums. With his wife Irene, Beasley set up the Cranmore Ethnographical Museum which eventually held more than 6,000 objects of ethnographical interest. The Beasleys collected objects from across Europe, buying from auction houses and local museums to expand the collection, which contained material from the Pacific, Asia, Africa, and Northwestern America. Beasley wrote numerous articles for anthropological journals and was considered an expert in his field. He died in 1939 and his collection was stored with the British Museum collections during the war, which was fortunate as the Cranmore Museum was destroyed by bombing. After the war, substantial portions of the collection were passed to the British Museum, the Royal Museum in Edinburgh, the Museum of Archaeology and Anthropology, the University of Cambridge, the Pitt Rivers Museum, and the Merseyside County Museum. Other pieces, such as the present lot, were sold by his widow and, after her death in 1974, by their daughters. Alfred William Cowperthwaite (1890-1964) was a contributor to the Cranmore Museum and became good friends with Harry Beasley. Shortly after Harry Beasley's death, he acquired a number of objects from Irene Beasley, including the present lot.Condition: Very good condition, commensurate with age. Extensive wear and weathering, as expected, with rubbing and abrasion to the fine incision work, and some nicks and chips which have smoothened over time. The stone with natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Calcification throughout.Weight: 73.7 g Dimensions: Length 10.3 cm With an associated metal stand. (2)Huang were a part of the elite adornments during the Neolithic period, especially within Hongshan, Liangzhu, and Longshan cultures. These were worn along with headgear, knee decorations, elaborate beaded necklaces, and other body ornaments, all made primarily from jade. Dr. Elizabeth Childs-Johnson dubs these cultures a part of the 'Jade Age', a period during which an abundance of jade objects accompanied the elite burials for the first time. The imagery carved on these jade adornments was highly standardized, and the most prominent image, which appears on this lot, is that of the godhead (also called a spirit person, shenren, or an anthropomorphized deity). This image is flat, often covered in cosmic cloud scrolls, and has zoomorphic attributes combining bird and semi-human elements.Literature comparison:Compare a closely related but much smaller jade pendant with godhead incision work, 6.3 cm long, dated to the Neolithic period, Liangzhu culture, in the National Museum of Asian Art, Smithsonian Institution, accession number S1987.734. Compare also a related jade ornament with a mask godhead, 8.3 cm wide, dated to the Neolithic period, Liangzhu culture, in the Metropolitan Museum of Art, accession number 18.63.良渚文化罕見神面玉璜中國，西元前約3300-2200年。器形下端圓弧，上端有三叉，中叉較短，兩側叉較長。玉璜四面和邊緣均有精美的紋理如雲紋一般，正面中央有一個突出的雕刻神人面具，頂部有尖喙的動物形鳥頭。兩翼都穿有用於懸掛的小孔。不透明的玉石呈棕色，帶有雲霧和深棕色內沁。來源：Percival David 爵士收藏，紙標籤上可見 “The Percival Collection，of Chinese Jades” 以及 “Zoomorphic Figure”字樣。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Sir Percival David (1892-1964) 出生於孟買的英國金融家，收藏中國陶瓷、郵票和玉器。1923年訪問中國後，他迷上了中國藝術，並創辦了Percival David基金會，以促進中國藝術和文化的研究。他的藏品已增至驚人的 1,700 件，現陳列於大英博物館。Harry Geoffrey Beasley (1881-1939)收藏，他逝世後由其遺孀Irene Beasley保存；Alfred William Cowperthwaite (1890-1964)，約於1939年購於上述收藏，之後在同一家族保存至今。Harry Geoffrey Beasley (1881-1939) 是一位英國人類學家和博物館館長，他在二十世紀初建立了一個重要的民族志收藏，現在收藏在英國的各個博物館中。Beasley和他的妻子Irene一起建立了Cranmore民族志博物館，該博物館最終收藏了 6,000 多件民族志方面的物品。Beasley 收集了來自歐洲各地的物品，從拍賣行和當地博物館購買以擴大收藏範圍，其中包含來自太平洋、亞洲、非洲和美國西北部的資料。Beasley為人類學期刊撰寫了大量文章，被公認爲是該領域的專家。他於 1939 年去世，他的藏品幸虧在戰爭期間被存放在大英博物館裏，而Cranmore博物館被轟炸摧毀。戰後，大部分藏品被轉移到大英博物館、愛丁堡皇家博物館、劍橋大學考古與人類學博物館、Pitt Rivers博物館和Merseyside County博物館。其他收藏，例如現在的拍品，由他的遺孀出售，在她 1974 年去世後，由他們的女兒出售。Alfred William Cowperthwaite (1890-1964) 曾是Cranmore 民族志博物館重要支持人，也曾是 Harry Beasley的好友。在Harry Beasley去世不久，他從Irene Beasley 處購買了一些收藏，包括此件拍品。品相：狀況極好，大面積磨損和風化，精細切口的摩擦和磨損，以及一些隨著時間的推移而變得平滑的刻痕和缺口。具有天然內沁和裂縫的玉石，其中一些可能隨著時間的推移發展成細小的裂縫。整體鈣化。重量：73.7 克尺寸：長 10.3 釐米金屬支架。(2)玉璜是新石器時代，特別是在紅山、良渚和龍山文化中，屬於權力階層裝飾品。 它們與頭飾、衣服配飾、精緻的串珠項鍊和其他裝飾品一起佩戴，所有這些都主要由玉製成。 Elizabeth Childs-Johnson博士將這些文化稱為“玉器時代”的一部分，在此期間，大量玉器首次伴隨著權力階層墓葬。 這些玉佩上雕刻的圖像非常標準化，而這批作品中最突出的圖像是神格（也稱為神人，或擬人化的神）。 該圖像是平坦的，通常覆蓋雲紋，並具有結合鳥類和半人類元素的動物形態。文獻比較:比較一件非常相近且尺寸較小的新石器時代良渚文化神面玉佩，長6.3 厘米，收藏於史密森學會國立亞洲藝術博物館，館藏編號S1987.734。比較相近的新石器時代良渚文化神面玉佩，收藏於大都會藝術博物館，館藏編號18.63。

A Georgian spirit label for Gin with cast edge, probably London 1824 by TL?

PRIESTLEY (Joseph) The Doctrine of Philosophical Necessity Illustrated; Being an Appendix to the Disquisitions relating to Matter and Spirit. To which is Added an Answer to the Letters on Materialism, and on Hartley's Theory of the Mind, 1st edition, London 1777, 8vo, errata leaf, advertisement leaf at end, lacking half title, slight soiling, skilfully rebacked marbled boards

SELECTION OF CUT GLASS DECANTERScomprising a ship's decanter and stopper, wine decanter and stopper, two spirit decanters and stoppers, water jug and an ice pail

SELECTION OF SILVER PLATEincluding a large oval tray, spirit kettle on stand, cigarette box, pair of candlesticks, pair of bottle coasters with armorial crests dated 12th June 1936, candle snuffer, twin egg cup holder, batchelors tea pot, pin dish and other items

Two cable souvenirs etc. Two cable souvenirs, a pair of gilt bronze finger plates from the Rothchild Mansion, Picadilly and a spirit level

Le Roux,H.: Les Jeux du Cirque et la vie foraine. Paris, Plon (1889). 4°. Mit zahlr. kolor. Textillustr. v. J. Garnier. 2 Bl., V S., 1 Bl., 250 S., 3 (1 w.) Bl. Hldr. d. Zt. mit Rverg. u. Kopfgoldschn. (Berieb., Innengelenke brüchig). Vicaire V, 225. Carteret V, 122. Toole Stott 444. Erste Ausgabe. - "The French (and original) edition of the classic Acrobats and Mountebanks... The illustrations drawn from actual and painstaking studies in action, capture the true spirit of the circus" (Toole St.). - Breitrandiges Ex., stockfleckig, hs. Besitzverm. "Etienne Biai Föglein" u. St.a.T.

Full title: A pair of Chinese famille verte 'Emperor Yang' dishes, KangxiDescription:Dia.: 34,5 cm Provenance:- By repute, from the Collection of Duchess Isabella Lubomirska (nee Czartoryska) (1736-1816), Lancut Castle, Poland.- The Counts Potocki, Lancut Castle, Poland, until circa 1944.- Paul-Louis Weiller (1893-1993), and thence by descent.- An important European private collection. Ref.: - Jeffrey P. Stamen and Cynthia Volk with Yibin Ni (2017), A Culture Revealed: Kangxi-Era Chinese Porcelain from the Jie Rui Tang Collection, pp. 30-33.- Emperor Yang of the Sui dynasty (éš‹ç‚€å¸, r. 606-18) is known for many achievements, such as linking the Yellow and Yangzi Rivers with the man-made Grand Canal, leading successful military campaigns expanding the Sui territory, and being accomplished in the arts. Despite those, Emperor Yang is also considered to have brought disaster to the country and misery to the people late in his life with his unwise rule and decadent and debauched lifestyle with his concubines. In the West Park, outside Luoyang, his consorts (wives who ranked lower than his primary wife, the empress) often organised his concubines to do equestrian performances and variety shows to entertain the emperor and please his inflated ego. One of the best known of these vignettes was the procession of Lady Wang Zhaojun (王昭å›, c. 52 – c. 15 BCE) in a moonlit night. (Lady Wang Zhaojun was one of the legendary Four Beauties of Ancient China. She had been in the harem of Emperor Yuan of the Western Han dynasty [汉元å¸, 206 BCE – 8 CE]. He eventually sent her off by horseback in a procession to marry a Central Asian tribal chieftain.) The elderly Emperor Yang is often depicted enthusiastically observing his elegant court ladies showing off their riding skills in the spirit of Lady Wang, while anticipating further antics to follow. This scene has often been mistaken as ‘female generals of the Yang family’(æ¨é—¨å¥³å°†) by many art historians. However, Dr Yibin Ni has found that historical woodblock illustrations such as that of the novel Romance of Sui and Tang (éš‹å”演义), and New-Year prints such as Wang Zhaojun’s Galloping Horses (新彩昭å›è·‘马) bear similar scenes with clear written titles which reveal that the scene is actually meant to be a cautionary tale for rulers. Chu Renhuo (褚人获)’s Romance of Sui and Tang fictionalises the historical events leading to the fall of the Sui dynasty and the subsequent rise of the Tang. (source: tutuhaoyi.com)Condition:The absence of a condition report does not imply that a lot is in perfect condition.Condition reports are provided on request. They will be made available, together with additional images, on our website at www.rm-auctions.com. Condition reports are given as a service, we can not be held liable for errors in such a report. The full list of condition reports for this sale is available on the following URL: https://www.rm-auctions.com/en/condition-report/75Further questions are always welcome at info@rm-auctions.com

LESLIE MARR (BRITISH 1922-2021) Leslie Marr (lots 66-75) Introduction Leslie Marr, born in Durham into a family of engineers and shipbuilders, studied Engineering at Cambridge. But while serving with the RAF in the Middle East during the Second World War discovered a burning inclination to paint. Short on supplies he procured some brushes and paint and purportedly used his kit bag as canvas to depict the landscape around him. On his return to London he enrolled in art school in Pimlico. Uninspired by the conventional approach the school offered, however, a chance encounter with David Bomberg’s stepdaughter, Dinora Mendelsohn, led Marr to seek the more vivacious and anything but ‘run-of-the-mill’ teaching style that Bomberg espoused at Borough Polytechnic in South London. Bomberg’s innovative non-academic approach to painting centred around discovering what he called ‘the spirit of the mass’. It was a method that had been fuelled by his pre-War painting expeditions to far flung and isolated destinations: the rugged landscapes of Palestine, the volcanic gorges of Ronda in Spain, and the mountains of Cyprus. And his ideas had a profound influence on a number of his students, Leon Kossoff (1926-2019) and Frank Auerbach (b.1931) amongst them, as well as Marr himself. Bomberg’s non-conventional style spawned The Borough Group, founded in 1946 by Cliff Holden (1926 -2020). Among its members were Bomberg himself, his wife Lillian Holt (1898-1983), Dinora Mendelson (1924-2010), Dorothy Mead (1928-1975), Edna Mann (1926-1985), Miles Peter Richmond (1922-2008), Dennis Creffield (1931-2018) and Marr. After marrying in 1946, Marr and Dinora travelled to Cyprus with Bomberg. Painting there together Marr’s work flourished, and he would later describe his time in Greece as the point at which he achieved the ‘enlightened’ state. But with the break-up of the Group in 1950 Marr turned to other interests, including as a photographer, film maker and Formula 1 driver before returning to painting after Bomberg’s death in 1957. Re-connecting with Bomberg’s original approach, Marr travelled far and wide to seek out wild and isolated landscapes – as far afield as New Zealand - and used extreme contrasts and thrusting diagonals to depict untamed Nature. In the present sale these landscapes include Stiper Stones, Shropshire (lot 67); Scotland (lots 73 & 74) and Exmoor, Devon (lots 68 & 70) where he lived for a number of years. But Bomberg’s nervous energy can equally be seen in Marr’s charcoal of Venice (lot 69), which combines a massing of architectural elements with an unnerving air of instability. A later influence in Marr’s work was Chaim Soutine, as evident in the two still-lifes in the sale (lots 72 & 75).LESLIE MARR (BRITISH 1922-2021)RECLINING NUDEsigned Marr lower left; dated 19 Nov.'71 lower rightwatercolour55 x 75cm; 21 1/2 x 29 1/2 in77.5 x 98cm; 30 1/2 x 38 1/2in (framed)ARR may apply

A chrome plated spirit of ecstasy car mascot, inscribed Rolls Royce Motors LimitedLocation:

A chrome plated spirit of ecstasy car mascot, inscribed Rolls-Royce Motors LimitedLocation:

A gilded spirit of ecstasy car mascotLocation:

A MONUMENTAL BRONZE HEAD OF BUDDHA, LAN NA, NORTHERN THAILAND, 14TH-15th CENTURYExpert's note: Thai bronzes of this size and preservation are exceptionally rare, particularly those that are over 500 years old. It's challenging to imagine the immense scale of the complete sculpture to which this head belonged, standing at well over 2 meters tall. Only a few works of similar magnitude have endured the test of time, and this magnificent head is among the largest privately owned examples. Despite centuries passing, it has retained all its spirit, a near-magical presence, a sense of tranquility, and, above all, its ability to inspire.Buddha's slightly elongated oval face with outlined smiling lips, aquiline nose, neatly incised heavy-lid downcast eyes below finely arched eyebrows in relief, his ears with extended pierced earlobes, the hair arranged in rows of snail shell curls, surmounted by an ushnisha.The bronze heavily cast and with a rich naturally grown patina, showing distinct malachite encrustations. The surface with natural wear overall, resulting from centuries of worshipping.Provenance: From an old private collection in Palm Beach, Florida, USA. Sotheby's New York, 23 March 1995, lot 101. A private collection in New Jersey, USA, acquired from the above, and thence by descent within the family.Condition: Superb condition, commensurate with age, showing extensive wear, weathering, and expected casting flaws. Some losses, nicks, and scratches. The interior of the head with a filling used to mount the head to the stand. The wood base with age cracks and flaking to lacquer.Weight: 24.7 kg (excl. stand)Dimensions: Height 40.5 cm (the head) and 60 cm (incl. stand) Mounted on a wood base, dating from the 20th century. (2)The present bronze bears distinctive features of the Sukhothai style, evident in its oval shape, hairline, and aquiline nose. A closely related example from the Sukhothai tradition is a bronze head now housed in the Sawanvoranayok National Museum (see literature comparison). However, there are slight variations in the facial treatment, such as less upswept eyes and fuller lips. The face also shows arched eyebrows, an upward turn at the sides of the mouth, and an oval marking on the chin. The flowing curves of these features come together harmoniously, making this sculpture an excellent representation of the neighboring Lan Na Kingdom's artistic style. Lan Na was a powerful state in Northern Thailand and actively promoted Buddhism, shaping their Buddhist sculptures with influences from the Sukhothai kingdom.During the late 13th century, Sukhothai reached its peak under King Ram Khamhaeng's reign. However, after his death, the kingdom declined, and various tributary states began to break away rapidly. Lan Na annexed Tak, an ancient town in Sukhothai, and other regions to the north and west asserted their independence. By the 14th century, Sukhothai had diminished to a local power and eventually became a tributary state of the Ayutthaya Kingdom, a neighboring Thai polity. In 1438, after the death of Borommapan, Ayutthaya annexed Sukhothai, bringing an end to its independent existence.Literature comparison:Compare a closely related Buddha bronze head, dated to the 14th-15th century, from Wat Mai, Sukhothai, now in the Sawanvoranayok National Museum, illustrated in Ancient Sukhothai: Thailand's Cultural Heritage, Dawn F. Rooney, 2008, pp. 198-99. Compare closely related Buddhas, held in Thai temples, illustrated in Stratton, Buddhist Sculpture of Northern Thailand, Chiang Mai, 2004, pp. 163-179, & figs. 7.50-7.58. Compare the fragmentary example held in the National Museum, Lamphun, published in Bowie (ed.), The Sculpture of Thailand, New York, 1972, p. 94-5, no. 55. Compare a closely related Buddha head at the National Museum of Bangkok and published in J. Boisselier, La sculpture en Thailande, Fribourg, 1987, pl. 111.Auction result comparison: Type: Closely relatedAuction: Bonhams, Paris, 25-26 October 2022, lot 83Price: EUR 176,775 or approx. EUR 182,000 adjusted for inflation at the time of writing Description: A copper alloy head of Buddha, Thailand, Sukhothai School, Kampheng Phet, 14th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the similar size (43 cm).Auction result comparison: Type: Closely relatedAuction: Christie's, London, 11 May 2016, lot 82Price: GBP 60,000 or approx. EUR 101,000 adjusted for inflation at the time of writing Description: A monumental bronze head of Buddha, Thailand, Lan Na period, 15th centuryExpert remark: Compare the closely related manner of casting and modeling with similar features. Note the slightly larger size (45 cm).

A BRONZE FIGURE OF GANESHA, ANGKOR PERIOD, KHMER EMPIRE, 11TH-12TH CENTURY OR EARLIERSeated in dhyanasana on a double lotus base, clad in a short sampot elegantly tied with a butterfly tang to the back. The deity is richly adorned in floral jewelry, a headdress and conical crown, holding modaks in his two hands, Ganesha's favorite dish, his face with a long trunk flanked by large ears. Superb naturally grown patina with smooth malachite and cuprite encrustations.Provenance: A noted private collection in Bavaria, Germany. A copy of a certificate dating the present lot as early as the 7th-8th century, signed by Dr. Hoang Anh Tuan, Director of the Ho Chi Minh City Museum of History, dated 11 May 2018, accompanies this lot. A collector's label to the base, 'Tp Ho Chi Minh, Bao Tang Lich Su 1979'.Condition: Good condition with minor ancient wear, casting irregularities, small losses, tiny nicks, and minor dents. Weathering and traces of erosion.Weight: 190.1 g Dimensions: Height 9.2 cm The matching double lotus throne is cast separately and neatly incised with numerous lotus petals in high relief. (2)God of wisdom and remover of obstacles both visible and invisible, the elephant-headed Ganesha is invoked at the commencement of any new undertaking or journey. As the deity's spirit was thought to reside within its likeness, this small bronze statue would thus constitute a perfect traveling companion, guiding its owner towards wise decisions and safe paths.Literature comparison: Compare a closely related figure of Ganesha, dated to the 12th-13th century, in the collection of the Minneapolis Institute of Art, accession number 99.216.11.Auction result comparison:Type: Closely related Auction: Christie's New York, 25 March 2004, lot 167 Price: USD 8,963 or approx. EUR 13,500 converted and adjusted for inflation at the time of writing Description: A rare bronze figure of Ganesha, Khmer, Angkor period, Baphuon style, late 11th centuryExpert remark: Note the identical size (9.2 cm).

A BRONZE BHUTA CULT MASK OF NANDI, SOUTH INDIA, LATE 18TH TO EARLY 19TH CENTURYHeavily cast, the ritual mask in the form of a bull's head with two long curved horns, each decorated with raised rings and incised with lotus petals at their bases. The face of the bull with a beaded halter, two large almond-shaped eyes with round pupils and neatly incised lashes, pierced nostrils, and two separately cast funnel-shaped ears, the mouth open revealing large incised teeth. The back with a circular attachment loop.Provenance: English trade. Condition: Very good condition with expected old wear and casting flaws. Light scratches, minor nicks, and small dents.Weight: 4,742 g Dimensions: Length 45.4 cm This cult mask has a totemistic connection to a culture of farming where plows are pulled by bulls and where cow milk is one of the main sources of proteins. The link with Hinduism is also easily established through Nandi, the mount of Shiva. Nandi, “the one who brings happiness" in Sanskrit, incarnates the interior strength brought by the control of violence. Its four legs represent truth, purity, compassion, and generosity. The act of touching its tail is meant to relieve people from any kind of impurity.The bhuta (spirit) is invoked in a highly stylized version of the ritual dance (bhuta kola) of the spirit impersonator during a theatrical production in which a world of supernatural beings is created by dancers adorned in colorful costumes including masks, such as the present lot, depicting various divine beings. Auction result comparison: Type: Related Auction: Galerie Zacke, Vienna, 25 April 2020, lot 448 Price: EUR 7,584 or approx. EUR 9,200 converted and adjusted for inflation at the time of writing Description: A Bhuta cult mask of a bull, late 18th - early 19th century Expert remark: Compare the related form. Note the size (51 cm).

A PAIR OF REPOUSSE SILVER VASES, YANGQINGHE MARK, LATE QING TO REPUBLIC PERIODChina, c. 1850-1935. Each with a baluster body raised on three floral feet above a waisted base and surmounted by a gently flaring neck with a foliate rim. Neatly engraved with prunus and peony blossoms borne on leafy stems, the body with five beaded panels enclosing inscriptions, four of which contain auspicious characters while one is a passage from Journey to the West. (2)Inscriptions: Maker's mark to the base of each, 'Yang Qinghe'. Each vase is inscribed with a passage from Journey to the West: 'Even the wind through the pines and the moon in the water are not as pure as Master Xuanzang. The heavenly morning dew and pearls are not as crystal clear as Master Xuanzang. He is wise, carefree, and has a clear mind. But he does not show this.'Provenance: London trade. Condition: Good condition with some old wear and manufacturing irregularities, light tarnishing, small scratches, minor nicks and minimal warping.Weight: 102.9 g and 104.6 g Dimensions: Height 15.5 cm and 16.1 cm The earliest records of the silver atelier known as Yangqinghe date to 1775 in Shanghai. By the end of the Qing dynasty, it had the reputation as being the best silver workshop on the Shanghai bund. Not only did they make decorative items, but also accessories and jewelry, popular among the Shanghai elite. After 1850, the atelier divided into three separate branches, Jiuji, Faji, and Fuji, and passed to the ownership of Shao Youlian's family.Shao was a statesman who had served as the Qing court's charge d'affaires at St. Petersburg, had been a past governor of Taiwan and acting governor of Hunan. After his death in 1901, his family did not immediately divide up his estate, but his second son Shao Heng, gradually assumed ownership of the Jiuji branch of Yangqinghe. Shao Heng was known as a spendthrift and tended to neglect the business. Jiuji eventually ceased operation in 1935.Journey to the West (Xiyouji), is an epic 16th-century novel fictionalizing the actual journey of the historical figure of Xuanzang (602-664) who made a pilgrimage to India to collect Buddhist sutras. During the eventful trip accompanied by Sun Wukong, the honest but hapless monk encounters a tempestuous and powerful monkey king recently released from a supernatural prison, Zhu Bajie, as well as a greedy pig-like demon and Sha Wujing, a quiet and sensible river spirit. The troupe suffer a series of increasingly dangerous trials but eventually prevail, finally bringing the true word of Buddha back to the Tang imperial court. Auction result comparison: Type: Related Auction: Sotheby's New York, 15 September 2018, lot 1479 Estimate: USD 5,000 or approx. EUR 5,600 converted and adjusted for inflation at the time of writing Description: A silver 'dragon' ewer, late Qing dynasty Expert remark: Compare the related Yangqinghe mark. Note the different form, dragon motifs, and the size (26.5 cm). 清末民初一對卷蓮口錘鍱銀瓶中國，約1850-1935年。卷蓮口，長頸，豐肩，五瓣瓶身，三如意足。頸部雕刻卷葉紋。器身五瓣分別開光，塊串珠板，內刻。 (2) 款識： 松風水月，未足比其清華；仙露明珠，詎能方其朗潤。故以智通無累，神測未形。 楊慶和 來源：倫敦古玩交易。 品相：狀況良好，有一些磨損和製造不規則、輕微變色、小劃痕、輕微刻痕和輕微翹曲。 重量：分別102.9克與104.6克 尺寸：分別高 15.5 厘米與16.1 厘米 拍賣結果比較: 形制：相近 拍賣：紐約蘇富比，2018年9月15日，lot 1479 估價：USD 5,000（相當於今日EUR 5,600） 描繪：清末銀開光龍紋龍柄執壺《上》《楊慶和》款 專家評論：比較相近的楊慶和款。請注意不同的外型，龍紋主題和尺寸(26.5 厘米)。

A JADE FIGURE OF A HORSE, SONG TO MING DYNASTYChina, 960-1644. The boulder is carved in the round depicting a horse contorting its body to face its rear, the mane and tail finely incised, the legs tucked under the horse's body, with an aperture underneath the horse's head and another between its legs and body. The translucent stone of a green color with distinct clusters of russet veins.Provenance: From an English private collection.Condition: Very good condition with minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks. Nice, smooth feel overall, from centuries of handling.Weight: 286.7 gDimensions: Length 9 cm The horse has a long history as a symbol of power, energy, and prestige in China. Jade carvings of horses are thought to originate in the Tang dynasty, reflecting the powerful stone sculptures of horses found on Spirit Roads and the pottery horses found in tombs.Auction result comparison:Type: RelatedAuction: Bonhams Hong Kong, 27 November 2018, lot 112Price: HKD 125,000 or approx. EUR 16,500 converted and adjusted for inflation at the time of writingDescription: A small yellow and russet jade horse, Song dynastyExpert remark: Note the size (4.2 cm).Auction result comparison: Type: Related Auction: Christie's Hong Kong, 29 November 2017, lot 3056Price: HKD 500,000 or approx. EUR 63,500 converted and adjusted for inflation at the time of writingDescription: A jade recumbent horse, Ming dynastyExpert remark: Note the size (9.4 cm).Auction result comparison: Type: RelatedAuction: Christie's London, 13 May 2011, lot 1219Price: GBP 10,000 or approx. EUR 18,500 converted and adjusted for inflation at the time of writingDescription: A celadon and brown jade carving of a horse, Ming dynasty, 1368-1644Expert remark: Note the size (8.5 cm). 宋至明玉馬中國，960-1644年。臥馬倒地嬉戲，兩耳圓潤，肢體健碩，骨肉豐滿，回首向背。半透明的綠色石頭，帶有明顯的赤褐色紋理。 來源：英國私人收藏。 品相：狀況極好，有微小的刻痕，玉料有天然裂隙，其中一些可能已經發展成細小的裂紋。經過幾個世紀，表面光滑。 重量：286.7 克 尺寸：長 9 厘米 拍賣結果比較： 形制：相近 拍賣：香港邦瀚斯，2018年 11月27日，lot 112 價格：HKD 125,000（相當於今日EUR 16,500） 描述：宋黃玉滾地馬 專家評論：請注意尺寸(4.2厘米)。 拍賣結果比較： 形制：相近 拍賣：香港佳士得，2017年11月29日，lot 3056 價格：HKD 500,000（相當於今日EUR 63,500） 描述：明代玉臥馬 專家評論：請注意尺寸(9.4厘米)。 拍賣結果比較： 形制：相近 拍賣：倫敦佳士得，2011年5月13日，lot 1219 價格：GBP 10,000（相當於今日EUR 18,500） 描述：1368-1644年明代青棕玉馬 專家評論：請注意尺寸(8.5厘米)。

A Royal Crown Derby paperweight, Spirit of Peace, commissioned by Wheelers of Loughborough as a limited edition of just 150 to commemorate the 50th Anniversary of VE Day 1945-1995, this is number 129, 23cm, red printed marks and Royal Crown Derby stamp to the base, certificate, boxed

Salt glazed stoneware - a 19th century jug, intertwined serpent handle and fanciful bird spout, c.1850; a Doulton Labeth salt glazed talon jug; an unusual 19th century court tankard moulded in relief with merry topers; a 19th century inverted baluster snuff or tobacco jar, moulded with the royal coat of arms and vacant banner; a large spirit flagon for TC Sowter, Wine and Spirit Merchant, Castle Donnington, etc (14)

An 18th century Dutch brass tobacco box, engraved with a narrative scene, 16.5cm wide, c.1750; a 19th century leather-clad Nailsea glass spirit flask, 17cm high (2)

An early 20th century brass and black painted clinometer, by J Hicks, 8, 9 & 10 Hatton Garden, London, screw-threaded calibrated barrel, tubular spirit level, 8cm long, mahogany case

A Great War ‘Western Front’ D.C.M., M.M. group of six awarded to Battery Sergeant-Major H. F. Conway, Royal Field Artillery Distinguished Conduct Medal, G.V.R. (960008 B.S. Mjr: H. F. Conway. 7/Lond: Bde. R.F.A.-T.F.); Military Medal, G.V.R. (772 B.S. Mjr: H. F. Conway. A.237/Bde: (Lond:) R.F.A.-T.F.); 1914-15 Star (772. Sjt. H. F. Conway, R.F.A.); British War and Victory Medals (772 W.O. Cl. 2. H. F. Conway. R.A.); Territorial Force Efficiency Medal, G.V.R. (960008 B.S. Mjr: H. F. Conway. R.F.A.) light contact marks, otherwise good very fine (6) £1,600-£2,000 --- D.C.M. London Gazette 1 January 1918; citation published 17 April 1918: ‘For conspicuous gallantry and devotion to duty. He has displayed marked courage and coolness, particularly on one occasion when the wagon lines were bombed and shelled by the enemy. His example and fine soldierly spirit are invaluable in his battery.’ M.M. London Gazette 14 September 1916. T.F.E.M. Army Order 167 of 1 February 1919. Horace F. Conway was a native of Uxbridge, London, and served with the London Brigade R.F.A. in France from 18 March 1915.

UTAGAWA KUNIYOSHI ( 1797-1861) A JAPANESE WOODBLOCK PRINT19th century Depicting Kusunoki Tamonmaru Masatsura and his companion Chikudomaru attacking a badger spirit, signed Ichiyusai Kuniyoshi ga, 38cm by 26cmSome tears around the edges. Some fold marks. 

ArtFX: Star Wars Yoda (Spirit of the Force) 1/7 Scale Pre-painted Model Kit, with LED light and voice sound chip features, boxed; together with ArtFX: Star Wars Chewbacca 1/7 Scale Pre-painted Soft Vinyl Model Kit, boxed. (2)

An impressive large German Imperial tobacco pipe, L. 108cm. with a spirit flask.

AN ASSORTMENT OF DRILL BITS AND A SPIRIT LEVEL

AN ASSORTMENT OF ITEMS TO INCLUDE TWO FIRE SCREENS, A SPIRIT LEVEL AND A SAFETY FIRE ESCAPE ROPE ETC

Box of assorted hand tools including: loppers, edging shears, long handled shears, spirit levels, rulers, secateurs, extendable pruner etc. (B.P. 21% + VAT)

An early 20thC oak smoker's cabinet, with hinged lid and doors, enclosing three drawers, pipe rack, a spirit decanter and stopper, and an associated Portmeirion Totem pattern tobacco jar and cover.

A 19thC brown stoneware ovoid spirit barrel, indistinctly painted in gilt Gin, 32cm high.

A reproduction spirit barrel, printed with the Warwicks and Richardson Brewery Newark, 29cm high.

A pair of plain glass wine jugs, each on a wasted stem and domed foot, 24cm high, and a small ship style spirit decanter of tapering form, with cut glass stopper. (3)

A portfolio of ten prints by Derek English to include; 'Fractured Land', 'Spirit Lands 10', 'Mountain Essence', 'Transitory Vision' etc.

Derek English, print, signed, 'Spirit Lands 2', 'Spirit Lands 3', 'Spirit Lands 5', (framed) all 31 x 40cm (3)

110v transformer and two spirit levels. Not available for in-house P&P.

Victorian and later silver plate including a spirit kettle. Not available for in-house P&P

A vintage brass spirit kettle. 29x21x35cm

2 vintage model boats. African Queen 38x37cm. Free Spirit 32x23cm

WADE BREWERIANA / ADVERTISING, including ash trays, water jugs, Bell's decanters, spirit barrels and other itemsProvenance: private collection Conwy

TWO VICTORIAN STONEWARE SPIRIT BARRELS, numbers 3 and 4, 37cms H (the tallest), and a Victorian salt glazed spirit barrel, 34cms HProvenance: private collection Gwynedd

A SET OF GLASS METRIC WIGHTS, BRASS WEIGHTS spirit levels and other items

A PRICE & SONS, BRISTOL SPIRIT OR BEER BARREL another similar (a/f), and a stoneware jar (3)

A Collection of Various Sundries to include Vintage Binoculars, Brass Garden Spray, Golfball Spirit Measure Etc

An Edwardian Silver Plated Spirit Kettle on Stand with Burner

A Vintage Green Painted Petroleum Spirit Can, 24.5cms Wide

3 Royal Doulton 'Spirit of' horses - Affection - Wild - Peace

2 Royal Doulton 'Spirit of' horses - Wind and Adventure

Two boxes of power tools, extension reel, fuel cans, spirit level

Ten various stoneware jars and bottles, 19th c and later, including three advertising G. Mallatratt, Wine & Spirit Merchant, Mansfield, others, various The three Mallatratt examples with some chips to the rim, broken handles. The others mixed.

Antiquarian Books. [Travel in the Holy Land] Finden (W. & E., illustrators) & Horne (Rev. Thomas Hartwell), Landscape Illustrations of The Bible, two-volume set, London: John Murray, 1836, plates, contemporary green morocco, rubbed and worn, volume I split, all edges gilt, 4to, Dickson (William), [Nottinghamshire Antiquities, etc], volume I: part I only, Newark: Holt and Hage, 1801, unexamined, full-page and some folding plates, original publisher's moiré cloth over papered boards, rebacked, some wear, uncut, 4to, [binding] The Spirit of Praise, London: Frederick Warne and Co., n.d. [inscription dated 1876], 'illuminated' title-page and frontispiece printed in chromolithography, red-ruled contents, finely bound by A.W. Bain in crimson morocco gilt, rubbed and slightly worn, all edges gilt, marbled endpapers, 4to, a Victorian family Bible, etc., (6)

Little, Stephen, und Catherine A. Steinmann (Hrsg.). Spirit Stones of China. The Ian and Susan Wilson Collection of Chinese Stones, Paintings and Related Scholars’ Objects. 112 S. Durchgehend illustriert. 26 x 19 cm. Blockbildung in 3-teiliger Leinendecke mit 2 beinernen Spornschließen. Chicago, The Art Institute, University of California Press, 1999.Seltener Ausstellungskatalog der chinesischen "Geistersteine" und weiterer Kuriositäten, insgesamt werden 66 Objekte vorgestellt und beschrieben. - Nur unwesentliche Gebrauchsspuren.