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18th century | height: 23 cm | region: Hanau | country: Germany | provenance: private pharmacy museum | Albarello faience pottery | This earthenware jug comes from the Hanau region of Germany and dates back to the 18th century. It is decorated with a delicate blue-white decor with floral motifs, which are typical for faience production of that time. The jug's classic shape is complemented by a lid and handle with a metal cap, suggesting that it was probably used to serve drinks. Products from Hanau were valued for their craftsmanship and precision of detail. The blue patterns on a white background were inspired by Chinese porcelain, which was very popular throughout Europe in the 18th century. This jug is an example of the high level of workmanship and aesthetic sense of the German workshops of the time, which produced high-quality earthenware for the domestic and international market. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1st half of the 19th century | height: 21 cm | country: France | provenance: private pharmacy museum | Albarello faience pottery | This jar dates from the early 19th century and is made in the Empire style that was characteristic of the reign of Napoleon I and drew inspiration from antique art. The inscription "Ongt d'Alherome" indicates an ointment jar, probably intended for medicinal purposes. Empire style is manifested in simple lines, symmetry and purity of form. The decoration of this jar is delicate and typical of the empire style - a wreath of small blue and green flowers that delicately frames the inscription. The shape of the jar on the leg is inspired by antique goblets, which gives the object an elegance and refers to the classical form that was typical of the empire. This specimen served not only as a jar for storing medicinal ointments, but also as a decorative element of the pharmacy interior. It is a rare example of Empire faience ceramics that combines functionality with aesthetics and refers to the high level of craftsmanship in the first half of the 19th century. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

19th century | height: 24 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 18th century albarello is from Liguria, Italy. It is made of earthenware, which is a traditional ceramic material typical of this area, and was used to store medicines, herbs or ointments. The surface of the jar is decorated with figurative scenes with little angels, which are executed in soft blue shades on a white background, which reflects the popular baroque style of the time. This type of decoration testifies to the high artistic level of the Ligurian ceramic workshops and to the aesthetic sensibility that was associated in the 18th century with common pharmaceutical items. The functionality of the jar was ensured by its characteristic cylindrical shape, which allowed for easy storage and use in pharmacies. The jar thus represents not only a practical pharmaceutical tool, but also a valuable example of the baroque artistic approach to the decoration of utility objects. | condition: good | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.conddition report:https://drive.google.com/drive/folders/1OmBwKNqW6aYON6K_lXItS7ewjmLe6KKV?usp=sharing

19th century | height: 22 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This jar, probably of the late 18th or early 19th century, is intended for the storage of pompholyx, which was a substance used in medicine, especially in ancient and medieval pharmacy, as an ingredient in ointments and other medicinal mixtures. The inscription "Pompholig" refers to this very substance, also known as white zinc oxide. The jar is made of faience ceramics and decorated with blue-white decor, typical of European ceramics of the time. Ornamental elements include floral motifs around the inscription and soft blue lines that give the jar an elegant appearance. The shape of the jar, resembling a cup on a foot, is characteristic of pharmaceutical jars, which were designed for easy handling and stability. This specimen represents the combination of functionality and aesthetics that were typical of pharmaceutical ceramics of the 18th and 19th centuries. The jar is not only a practical object, but also a decorative element of the pharmacy interior, which testifies to the high level of craftsmanship. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 14 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello comes from Liguria, Italy and dates back to the 18th century. The jar is made of earthenware and was used to store pharmaceutical preparations. The inscription "Syr. Letif." suggests that the jar contained a syrup of letificium, a medicinal mixture often used to invigorate or improve the mood, with herbs and other ingredients having invigorating effects. The decorative blue patterns are typical of Italian pottery of the period, emphasizing the Gothic inscription, which contrasts with the delicate white background of the jar. This style of decoration shows the high level of craftsmanship of the Ligurian ceramic workshops of the time. The jar is not only a functional pharmaceutical tool, but also an aesthetic artefact that reflects the development of pharmacy and artistic tradition in Northern Italy during the Baroque period. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 22 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | Dating from the 18th century, this jar is a beautiful example of Delft faience pottery, which was very popular in Europe. The jar is decorated with blue and white decor, a style that imitated Chinese porcelain, which was in high demand at the time. On the front of the jar, a bird sitting on a vine branch is elegantly depicted, set in a richly ornamental frame with plant motifs. This type of ceramic was widely used in the pharmaceutical environment for the storage of medicines or as a decorative element in interiors. The shape of the jar is simple but functional, with a bulbous body and a narrow neck that made handling easier. Delft faience was prized for its quality and precision of workmanship, and this artifact is evidence of a high level of craftsmanship. This jar is not only a utilitarian object, but also a work of art that reflects the aesthetic values ​​and skills of the potters of the time. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 30 cm | region: Delft | country: Holland | provenance: private pharmacy museum | Albarello faience pottery | This beautiful 18th century apothecary jar is made of earthenware with a traditional white glaze and blue hand painted decoration. The inscription "DUYN KERKEN" probably refers to the place of origin or a specific pharmacy. The container is richly decorated with floral and ornamental motifs, which are typical for apothecary faience products of this period. The container was probably used to store dried herbs, medicinal preparations or precious syrups. The round body and high neck ensure not only a practical function, but also an aesthetic value that would have taken an important place in 18th century pharmacies. The beautifully executed blue and white decoration indicates a high level of craftsmanship. | condition: undamaged | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

18th century | height: 14 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This albarello, originating from Liguria and dating to the 18th century, is made of earthenware and was intended for storing pharmaceutical preparations. The inscription on the jar "Syr. Diap.†refers to diapen syrup, which was a medicinal syrup often prepared from the root of the peony (Paeonia). This syrup was used in traditional medicine to treat spasms, nervous problems or to relieve pain. This style of decoration was typical of ceramics produced in northern Italy during the Baroque period and reflects both the aesthetic sense of detail and the high artistic level of the ceramic workshops of the time. the work of the 18th century. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

1715 | height: 21 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience potteryLot descriptionKnown as "Versatoio", this unique apothecary syrup jar comes from Liguria, Italy and dates back to 1715. It is made of earthenware, a traditional type of ceramic material characterized by its fineness and light glaze. The surface of the vessel is decorated with typical blue floral motifs and geometric ornaments that refer to the Baroque decorative style popular in northern Italy in the 18th century. Fine drawing and markings on the surface show the high level of craftsmanship of the regional workshops. A striking detail is the initials "TF" which probably indicate the manufacturer or owner of the container. The container was not only used to store medicinal syrups, but was also a representative element of pharmacy decoration. This artefact is proof of the then emphasis on aesthetics even in objects of daily consumption, and at the same time a reference to the rich ceramic tradition of Liguria.condition report:https://drive.google.com/drive/folders/1KZeP-PvtoHZpxoIb49wlm8n0wl4CGUsl?usp=sharing

end of the 19th century | height: 24 cm | region: West Europe | provenance: private pharmacy museum | Albarello faience pottery | This impressive 19th-century faience albarello is decorated with blue and white painting and bears a heraldic motif with a crowned eagle and coat of arms, suggesting that it may have been a jar associated with an important family or an apothecary under aristocratic patronage. The combination of sword, cross and plant motif symbols on the coat of arms emphasizes the importance of both spiritual and worldly power. Such jars were used to store medicines or herbal mixtures, and their decoration testifies to the high level of craftsmanship and prestige of the owner. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1FkRllBbRXBsGHe5guCMHgDuKWmDDR20g?usp=sharing

18th century | height: 20 cm | region: Liguria | country: Italy | provenance: private pharmacy museum | Albarello faience pottery | This 18th century albarello, from Liguria, Italy, is made of earthenware, a traditional ceramic material, and was used to store ointments or herbal preparations. On the front is the inscription “Ung. Dialthea", which refers to the contents of the jar - an ointment from the scurvy (Unguentum Dialthea), often used to treat skin inflammations. The decorations include blue plant and floral motifs on a white background, which is typical for Italian ceramics of this period. Carefully crafted patterns and high-quality glaze reflect the high level of Ligurian ceramic production in the Baroque period. Albarello not only fulfilled its practical function in pharmacies, but also represents an example of the rich artistic tradition of northern Italy. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.condition report:https://drive.google.com/drive/folders/1BEe_gCOrrRccDvp78OE9MNIl6ul9gAnF?usp=sharing

20th century | height: 25 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | This ceramic object represents the historical apothecary albarello, traditionally used in medieval and renaissance pharmacies to store medicinal substances. The jar depicts a woman in medieval dress, symbolizing a possibly allegorical or iconographic figure associated with the contents of the jar. The inscription "Ung di papaveri" refers to poppy seed ointment, which was used for its healing and soothing effects. The characteristic shape of the jar, made of earthenware, together with the hand-painted decoration typical of Italian Renaissance workshops, testify to a high aesthetic and craftsmanship level. | Bidders are requested to inquire about the condition of the lot prior to the auction. Any complaints will be disregarded.

Flemish School. 16th century.‘Mary as the Gateway to Heaven. Allegory of the examination of conscience to achieve a Good Death’.Oil on panel. Accompanied by an imposing carved and gilded wooden frame.92 x 70 cm.Magnificent panel depicting the final moment of a human being lying in the centre of the bottom of the composition, taking stock of his good and bad deeds, the examination of conscience of his life; a prayerful reflection on his thoughts, words and actions in the light of the Gospel to determine how he may have sinned against God and others. The artist must have been familiar with the theology of the time, as taught by St. Ignatius of Loyola in his Spiritual Exercises, which taught: ‘at the end of the day, at the time of going to rest’ ‘to make a daily peaceful reflection on all that has happened [...] to find God in all things [...] even in those where God had apparently hidden himself’. 'The human conscience imagines its life at the ‘hour of eternal rest’. The painter places Mary, the Gate of Heaven, at the centre, as the Mother of Mercy who always awaits with open hands on her heart. In Glory,  the Holy Trinity awaits, God the reigning Father, the Suffering Son and the Holy Spirit who flies over everything and everyone. When contemplating this work, we see three differentiated levels, in which numbered phylacteries fly, like speech bubbles, which arrange the conversation. Above in the sky: Son (11) ‘PATER RESPICE VULNERA MEA...’ (‘Father, remember my wounds...’). And he also addresses his mother (14): ‘MATER MEA, FIAT TIBI SICUT VIS’ (‘My mother, let it be done as you will’). God the Father (12) ‘VENIT TEMPUS MISEREN DIEORUM’ (‘The hour has come for the miserable days’).The Father, who addresses the Virgin and calls her Daughter: ‘FILIA FIAT TIBI SICUT VIS’ (‘Daughter, be it done as you will’). And the third from heaven is the Dove or Holy Spirit (1) ‘SPONSA FIAT TIBI SICUT VIS’ (‘Bride, be it as thou wilt’). On the second level, horizontally speaking, and in the centre, the Virgin responds with three phylacteries (8): ‘PATER RESPICIE IN FACIEM CHRISTI’ (‘Father receive and look at the face of Christ’), (9) ‘FILI ASPICE UBERA QUAE TE LACTAVERUNT’ (‘Son, look at the breasts that suckled you’), and (10) ‘S. Se. DEUS ECCE QUOS AMAS INFIRMANTUR‘ (’God, Holy among the Saints, strengthen those you love"). The angels on the left, over which he prays: ‘PER HANC NOS AD DEUM’ (‘Through these, we go to God’), ask their Queen (7): ‘IUUA PUSILLANIMES, MARIA ANGELORUM REGINA’ (‘Mary, Queen of Angels, look upon the fainthearted youth’). On the right are saints and the Church: Saints Peter and Paul, Popes and Holy Fathers, and Saint Peter the Martyr, among others. Above them: ‘PER HANC DEUS AD NOS’ (‘Through these, God goes to us’), and they respond to their Mother: ‘SU COURE MISERIS SANCTORUM MATER’ (‘Merciful Mother of Saints, attend this tribunal with your heart’). On the earthly level, rests the conscience, lying in the form of a sick human being, who speaks to the Virgin (2): ‘MARIA, TU AB HOSTES PROTEGE ET HORA MORTIS SUSCIPE’ (‘Mary, protect yourself from the enemy and listen to the hour of death’). To which she replies from heaven (16): ‘CONFIDITE FILII, EXAUDITE EST ORATIO NOSTRA’. (‘Son of trust, hear our prayer’). And St. Michael the Archangel, who is named, brandishes his sword over the devil, and says to him (17): ‘IMPERET TIBI DEUS’ (‘God will annihilate you’). And that devil, who is leaning over the recumbent, says (1): ‘PECCAMUSTIS NON SPERETIS VENIAM’ (‘You must sin, do not expect forgiveness’). To the left of the couch, is an angel looking up and praying (5): ‘OCURRITE ANGELI DOMINI’ (‘Angels of the Lord, come’). To the left of his wing we read ‘STOS’ (‘he who remains standing’). To the right of the sick man Saint John the Evangelist (‘PROTECTOR’, behind him, above the shield) cries out: ‘SUB VENITE SANCTI DEI’ (‘Saints of God, come to him’). Two saints pray with the sick man, a Carmelite and an Augustinian, behind whom ‘death breathes, symbolised by the caravel waiting patiently with its shining dart’. The sick man communicates that he has had only one thought, of the fear of God (‘TIMOR DEI’), his whole life rests on the theological virtues, Faith, Hope and Charity (pillows), rests on his good works, thoughts and words (‘BONAE OPERA, BONAE COGITATIONIS, BONAE LOQUTIONES’), and rests on the cardinal virtues (legs of the bed) Prudence, Justice, Fortitude and Temperance. The devil, who stalks the dying man, sticks out from under his bed, which raised on a platform covered with a valance: ‘CONFUNDANTUR QUI ME PERSEQUNTUR ET NON CONFUNDAR’ (‘Those who persecute me will be confused, and they will not confuse me’); while the dying man prays and speaks to all: ‘MISEREMINI NOSTRI SALTEM VOS, AMICI NOSTRI’ (‘At least, you, our friends, have mercy on us’). All this theological life ‘has a face, an owner, a face, a family’, represented by the heraldic shield on the right of the evangelist and beloved disciple, either the person who commissioned the work or its painter. A shield in gold, gules and black with a heart surmounted by the Holy Cross of Jerusalem with initials B, E, P, O.Finally, we should note that an almost exactly similar panel, although not so dark in the background colour, with more light, with the same iconography, perhaps also by the same artist, is in the Pilgrimage Museum in Santiago de Compostela.

Diego Quispe Tito (Cuzco, Peru, 1611 - 1681)"The Annunciation"Oil on canvas. It has lacks of painting.157 x 218,5 cm.Provenance: this lot is the couple of lot 81 from the auction, "Beauty and Devotion. Picasso between the Old and New World", 25th of April, 2024. A palace-house of an Andalusian marquisate, a Spanish noble family whose lineage dates back to the 12th century.Specifically, our painting was placed next to its partner, "The Holy Family in the workshop of Nazareth".It is obvious that these two pieces were a pair, because the model used to portray Mary is the same in both paintings, as well as the basket with clothes that we find centering the scene is the same in both paintings.As we read in the Real Academia de la Historia Quispe Tito "Member of a family of the Inca aristocracy, is considered among the main initiators of the Cuzco school for painting. He apparently came from the indigenous village of San Sebastián, which houses a significant part of his production. It is centred on the decorative works for the parish church in that town, for which he worked intensively between 1634 and 1669. During those years he produced four large pictorial cycles: Life of Saint John the Baptist, The Passion, Martyrdom of Saint Sebastian and The Doctors of the Church.These groups of canvasses summarise Quispe Tito's original maturity, characterised by an ingenious reinterpretation of European prints and by a precise, agile brushstroke with lively colours.His fame soon spread beyond the confines of Cuzco, and in 1667 he was commissioned by the churches of Potosí to paint Jesus among the Doctors of the Temple and The Betrothal of the Virgin, both of which are now in the Museo de la Casa de Moneda of that city.In the Inca capital itself, Quispe Tito's most ambitious work is the canvas of The Last Things or the Last Judgement, painted for the porter's lodge of the Convent of San Francisco in 1675.Here the Andean painter abandoned the dynamic formulas for depicting the Last Judgement, in force until the High Renaissance and early Baroque periods in Europe, to return to the ordered scheme, in the form of successive The Holy Family Returning from Egypt (National Museum of History), dated 1680, displays the virtuosity characteristic of his later works. Here the painter based himself on a widespread composition by Rubens, but Quispe Tito considerably reduced the proportion of the figures in relation to the background in order to place the scene of the sacred story within a vast idealised and fantastic landscape, thus heralding the emergence of one of the favourite genres of painting in Cuzco in the following century. At the same time he executed the well-known series of the zodiac, hung on the walls of the side naves of the Cathedral of Cuzco. Today only nine of the twelve signs exist, either because three of them were destroyed or because the artist died before completing the commission.It is a Christianised cycle, in which each of the zodiacal signs is identified with a parable of Christ or a Gospel story. In this case Quispe literally follows his Flemish graphic sources, while at the same time displaying a European-inspired pictorial craft, the high technical level of which is unsurpassed in the Cuzco context.In this way the artist, in the last stage of his life, seemed to adapt his work to the aesthetic preferences of a cultured, urban clientele, which may have attracted the attention of Bishop Mollinedo and his cathedral chapter.Bibliographic reference:- Wuffarden, Luis Eduardo. (n.d.). "Diego Quispe Tito". https://dbe.rah.es/biografias/54757/diego-quispe-tito

Attributed to Sebastián López de Arteaga (Seville, 1610 - Mexico, 1656).Carved, wooden "cell cross" painted in oils.61.5 x 31.5 cm.  Powerful, inspiring and devotional oil painting on panel with the image of Christ Crucified at the moment when, according to the Evangelist John or Psalm 22, He says some of his seven last sayings: - to God, his Father: ‘My God, my God, why have you forsaken me?- to all: ‘I thirst’;- to the world: ‘All is fulfilled’;- and finally to God: ‘Father, into your hands I commend my spirit’.The ‘cell cross’ is a type of devotional piece very common in Spanish and Latin-American convents and monasteries in the 17th and 18th centuries, and was placed inside each cell for the personal use and worship of each monk or nun.The cross has rectilinear sections, unadorned, and worked in an illusionist, three-dimensional manner, the amount of light is somewhere halfway between the typically Baroque tenebrist light and expression of pathos and the artificial Mannerist light, that invisible ‘cannon of light’ that makes us look at Him.  Christ appears in the centre, with foreshortened and expressively deformed anatomy, which denotes the continuance of mannerism even into the 17th century. Following this Christ from top to bottom, at his feet we see a depiction of death treading on the devil.  While regarding the pain and death of Jesus on the cross, the skeleton at his feet may seem to be perverse mockery, or nihilistic and macabre irony.This design of a skull (Adam's skull) with two tibias, or scattered bones, and a sitting or standing skeleton originated in the late Middle Ages as a symbol of death and especially as a ‘memento mori’, a visual reflexion on the transience of life (remember that you will die...). In this work, and on the same plane or level, death steps on the devil, on evil, as if they were saying to each other: neither you nor I have the last word, only the resurrection.And horizontally, like two ‘loving’ messages flowing from the blood of his hands, we see two birds: in his right hand, as we look at it, the Phoenix on a burning fire, a symbol of hope, poise, memory and regeneration, a miraculous bird that feels death and prepares it with care and serenity to then rise from its ashes unharmed and vigorous (an impossible dream for a human being who has no faith ...); in his left hand, as a finale, he presents a bird and its chicks, which she feeds with her own flesh and blood.  The pelican, one of the symbols of Christ, of His martyrdom and death as salvation through the ultimate sacrifice and love for others. In Catholicism it is associated with the Eucharist: with the immolation of Jesus, who with His own flesh and blood nourishes and redeems humanity.   A true example of love is the pelican that restores its young with its own blood.  Such is the love of Christ who with His blood restores life and gives us his kingdom on the cross.The composition ends with this pelican which encloses, with a motto, the expression of love of this Christ on the cross: ‘SIC’, ‘HIS QUI DILIGUNT’ (Thus - For those who love). 

A Hasselblad 500C/M Medium Format Film Camera, black, body G, mirror and advance works, has been hand-painted gloss black on the back plate, obscuring the serial number, with a Carl Zeiss Distagon f/5.6 60mm lens, chrome, barrel F-G, optics F-G with light dust and haze, and a Carl Zeiss Planar f2/8 80mm lens, which has been hand-painted gloss black, and does not focus correctly, with a waist level finder, G and an eye-level finder, also hand-painted black, three film backs all with hand-painting on the interface plate, some filters and a hand grip.

A Selection of Small Leica Accessories, to include several cable releases, two Leica Meter MC, a shoe-mount spirit level, two new carrying straps, an ELPRO 3 filter, and an ELPRO-D filter, and other items.

A Pair of Nikon Camera Viewfinders, comprising a Nikon F eye-level finder, black, dent to the front, but functional, optics clear, and a Nikon right-angle finder, optics clear.

Hessian tool roll containing 5 woodworking chisels, 1 spoke shave, a 90cm spirit level and Record no930 heavy duty bolt cutters.

Red cantilever metal tool box containing tools and Rabone 60cm spirit level. Tool box measures 56cm wide, 22cm deep, 23cm high.

Heavy 6' steel straight edge, Wickes 100cm metal rule and BMI Eurostar spirit level.

Mixed box of tools that include spirit level, riveters, pliers etc.

Robert Sorby antique handsaw, Preston & son spirit level, Rabone 1378 ruler, vintage brass plumb bob and vintage spoke shave.

Mixed lot of woodworking hand tools which include Stanley Bailey no3 smoothing plane, "The Boston" no2A plane, Rabone 1626 spirit level etc.

Leica Geosystem runner 24 automatic optical level with case and 5m 5 section measure.

Two bottles of 1970 Grand Vin de Chateau Latour.Level to shoulder. Stored flat in a cellar

A bottle of Port Ellen Single Malt Whisky Second Release, aged 24 years, 59.35%, 70cl. Bottle No 4714 of 12000, distilled in 1978, purchased around 2003.Collector in LondonMid shoulder - please see images for fill level.

AN ENGRAVED BRASS ASTROLABE PROPERTY FROM AN IMPORTANT EUROPEAN PRIVATE COLLECTION Safavid Iran, dated 1125 AH (1713 AD), signed by the maker Amin Mohammad Shams al-DinOf typical circular shape, comprising five engraved plates and an openwork rete with scrolling, intertwined vegetal interlace and an ecliptic ring at the top, the rule and mater densely engraved with Arabic letters and references, the womb featuring six decreasing concentric circles with Arabic inscriptions, the central roundel marked with the date '1125' (1713 AD) and signed by the maker Amin Mohammad Shams al-Din, another six bands occupying half hemisphere on the reverse, the cusp once fitted with a qibla pointer, now missing, engraved with rosettes on the front and an arabesque composition with a lotus flower flanked by split palmette scrolls on the back, with an old Sotheby's London tag reading Ottoman engraved brass astrolabe, Turkey, and extra notes in pen.13cm diameter and 16.5cm long Provenance: Chiswick Auctions, 29 April 2022, lot 92. Used in astronomical observations and for timekeeping, astrolabes allowed users to chart celestial bodies; determine the direction of Mecca; and navigate. Astrolabe makers were highly skilled craftsmen who often worked closely with scholars and astronomers to achieve the greatest level of precision and detail in their creations. Often, these scientific instruments were engraved not only with celestial markers but also religious inscriptions, demonstrating the dual role these devices played in both practical astronomical navigation and religious observance (e.g. determining prayer times and the direction of Mecca). During the Safavid period, their purpose became even more multi-faceted. In fact, despite their functional purpose, astrolabes and scientific tools became symbols of the cultural advancement promoted by the Persian shahs. As an example of this, the renowned Safavid astrolabe made by Muhammad Muqim al-Yazdi in 1647 - 48 AD, created for the Safavid ruler Shah Abbas Il, acts as both an utilitarian instrument, as well as a work of art and reminder of the degree of excellency strived for at the Safavid court. 13cm diameter and 16.5cm long Qty: 10

§ Edward Barnsley CBE (1900-1987) and The Barnsley Workshop, a walnut breakfast table, the circular top on an octagonal column support raised on four splayed legs, stamped to underside of base73 x 136cmThere is much peeling to the varnish on the tabletop, with many water, oil and paint stains, scratches and tape. However, it is structurally sound, with no evidence of splits and top appears level. Splash stains (in both black and white) to the legs and pedestal. Water damage to the feet where touching the floor. Please refer to the additional images for further detail. Lacking fixing screws for top to the base, as well 14 of the 16 wooden fixing paddles are missing (2 are remaining). 

§ Ruth Duckworth (1919-2009), Untitled, an abstract pottery candle holder, the three-tiered stoneware form of organic form and finished in a mottled ochre glaze33.5 x 21 x 16cmThere are a number of small chips and nicks to the irregular rims and a firing crack to the first horizontal level.

A three-tier brass coffee table, with rectangular glass top and middle tier above a mirrored glass lower level44 x 122 x 51cmSome minor loss of finish to brass frame in places, a number of light scratches and marks to the glass and mirrored base, a slightly more notable scratch to the top glass.

JOHN AND DHUIE TULLY OF FOCHABERS: A RARE CARVED WOODEN SALMON with hand-painted naturalistic decoration, mounted on a stained oak back board with bevelled edge, with painted legend “Springer caught by A. K. Wilson. Boat Meadow, Old Court, Whitney-on-Wye. 11th March 1923. Cock Fish Weight 43lbs. Length 47”. Girth 24”. River level 2’2”. Taken on a 2 1/2” black and gold Minnow”, 145cm x 66cmProvenance: John Tully (1862-1931) and Isabella (Dhuie) Tully, née Russell (1864-1950).From an important private sporting collection, Midlands.John Tully (1862-1931) and Isabella (Dhuie) Tully, née Russell (1864-1950)John Tully was born on 2nd January 1862, the eldest son of Thomas Tully of Fochabers and his wife, Anne Brand. Thomas Tully was a builder’s carpenter and John learned the skills of the business in his father’s shop. In 1880 at the age of 18, he entered employment at Gordon Castle, where he remained for almost fifty years, starting in the carpenter’s shop and finally becoming Clerk of Works. In 1905 John Tully married John Russell’s daughter Isabella (Dhuie). They became known throughout the world for modelling fish, a department of artistic labour that made Fochabers and its studio a household word among anglers in even the most distant parts. Mr Russell’s legacy was continued by his gifted daughter and her husband, and throughout the passing years there has been an output of fish models that has run into many hundreds. The model had to be an exact replica of the fish with every dimension being drawn to scale, the depth and length measured with the utmost exactitude and painted in its natural colours.

ARR John L Chapman (b.1946) Lambeth Bridge, over the Thames, with the Palace of Westminster beyond, signed lower left, oil on canvas, 50 x 76 cmProvenance: Ex Collection of a Northern Art Gallery Condition:The painting is on canvas, unframed. The canvas has good tension and appears in overall good condition - no obvious holes, tears or losses. The paint has surface level craquelure in places, but the paint condition overall appears stable and there is no obvious paint loss. Colours are good.

1953 Chateau Lafite Rothschild Premier Cru Classe, Pauillac 1x75cl Level LS, capsule badly damaged.These wines were part of a private collection from an important Berkshire house and stored in perfect conditions in a temperature controlled cellar. 

1975 Domaine de la Romanee-Conti, Grands Echezeaux Grand Cru 1x75cl Level 4cm, label stained and damaged. These wines were part of a private collection from an important Berkshire house and stored in perfect conditions in a temperature controlled cellar.

1986 Montevertine, Sodaccio, IGT 1x75cl Level TSDeceased Estate of a Gentleman.

A Charles I oak livery cupboard, of architectural form, the upper section with central arched panel flanked by doors with lozenge carved panels and with projecting column supports above an open shelf with similar column supports, 127.5cm wide, 55cm deep, 122cm highOverall appearance good, general wear, knocks and splits commensurate with age. The roof board with repaired front corner (using original piece), shrinkage gap to roof board has been filled with a fillet. Later locks. One applied moulding to front of bottom shelf is missing. Feet original with pleasant level of wear. One column has replaced section of capital but is hardly noticeable.

A 20 bore Beretta Mod S56E over and under boxlock ejector shotgun. Serial No.B44391B. Std. Specs. Bottom bore marked level with top sling swivel. Stock varnish scratched. Canvas sling. Brls.26 ins. Scotarms Lot No 243 FAA – Sect 2. Shotgun Certificate / RFD required to buy this item.Condition ReportM-A/B, F-C, S-C

A Jaeger-le-Coultre model 528 Atmos clock - the glazed gilt-brass case with canted corners and inset spirit level to base, the circular white chapter ring with gilt batons and Arabic numerals at the quarters, the movement wound by atmospherics, stamped 'Le Coultre Atmos 415069', 9¼ inch (23.7 cm) high, horse racing prize plaque to front of base, inscribed 'Divine King - The Johnnie Walker Handicap Stakes - 3.35 pm Friday 9th May, 1975 - Lingfield Park', with instruction book.

Hornby O Gauge tinplate buildings & accessories including Station No.3 & other platforms, signal boxes, water tower, cranes, signals, level crossings, footbridge, tunnels and track (7 boxes)The items in this auction are located offsite and as such, we have limited access to provide postage quotes. Therefore, we are only able to offer a discretionary post and packing service on small, singular items. Due to the fragility of lots in this auction, we would strongly advise using a professional packing service in most instances.

A SET OF FOUR GILT METAL CIRCULAR TABLE STANDS 20TH CENTURY Each raised on leaf decorated pedestal supports with three frog feet, in a compartmented wood box 16.5cm high, 20cm diameter Illustrated: The Connoisseur, May 1965, p.4 Condition Report: With wear, marks, knocks and scratches as per age, handling, use, and cleaning. All with wear to tops from use as stands. Each has an insert disc to top- which comes out- but most do not go back neatly into the tops- some edge dents which will require remedial work to effect neater finish. All seem to have central long screws holding them together- but all are a little wobbly to touch. Stand level- frogs have a mixture of fitting screws. Box worn and tired. Please see additional images for visual references to condition which form part of this condition report. All lots are available for inspection and Condition Reports are available on request. However, all lots are of an age and type which means that they may not be in perfect condition and should be viewed by prospective bidders; please refer to Condition 6 of the Conditions of Business for Buyers. This is particularly true for garden related items. All lots are offered for sale "as viewed" and subject to the applicable Conditions of Business for Buyer's condition, which are set out in the sale catalogue and are available on request. Potential buyers should note that condition reports are matters of opinion only, they are non-exhaustive and based solely on what can be seen to the naked eye unless otherwise specified by the cataloguer. We must advise you that we are not professional restorers or conservators and we do not provide any guarantee or warranty as to a lot's condition. Accordingly, it is recommended that prospective buyers inspect lots or have their advisors do so and satisfy themselves as to condition and accuracy of description. If you have physically viewed an item for which you request a report, the condition report cannot be a reason for cancelling a sale. Buyers are reminded that liability for loss and damage transfers to the buyer from the fall of the hammer. Whilst the majority of lots will remain in their location until collected, we can accept no responsibility for any damage which may occur, even in the event of Dreweatts staff assisting carriers during collection. Condition Report Disclaimer

A pair of Burr walnut Epstein style bedside cupboards with drawer, shelf and cupboard. Condition report:Both cabinets a bit 'rough around the edges' but basically sound.37 cm wide x 39 cm deep x 73cm highShowing some wear with marks to shelves, level noted, one knob missing, one piece of veneer detached but present.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.

A Burr walnut Epstein style dressing table/desk with triple mirror with 7 drawers with carved detail. In good conditionShowing some wear with marks to shelves, level noted, one knob missing, one piece of veneer detached but present.WE TAKE GREAT CARE in the accuracy of our condition reports and may record damage and restoration if obvious. The information is provided in good faith along with detailed photographs where requested and is for guidance only. However, this does not imply that there may not be further condition issues associated with the lot and we DO NOT provide any guarantee to the buyer.WE STRONGLY ADVISE BIDDERS TO EXAMINE PERSONALLY ANY LOT THEY ARE INTERESTED IN BEFORE THE AUCTION.

Box of various model railway track buildings, level crossing etc

Hornby Dublo - A collection of boxed buildings and accessories including Island Platform, Signal Cabin, Junction Signal, Footbridge, Level Crossing and a Marshall II power controller. The items show some signs of use and appear in Good condition overall. (This does not constitute a guarantee) [ba]

A vintage brass Theodolite/Surveyors Level with original wooden case, signed "Rothwell Manchester", length 34cm height 11cm.

A large collection of assorted records, singles and albums. To include ELO, Kylie Minogue, Foreigner, Lionel Richie, Level 42, Neil Diamond and A-ha.

A mixed lot to include a J. Rabone and Sons vintage spirit level (Glass has broke on right hand side). Eight 2004 England Football Club coins. A boxed H and M Victor Transformer Rectifier Unit, 2 x football programmes, and similar. Items appear mostly good with some boxes and card having storage wear. (This does not constitute a guarantee) (M)

The remaining tools, stock items and sundries at the workshop - Nothing relating to Lots 1-14 to be included but comprises of Makita Router, Makita sander, Draper belt sander, Titan grinder, large quantity of clamps, small compressor, Erbauer biscuit jointer in box, Bosch GBH 2-26 drill, Makita buffer, two Einhell cordless drills, Black and Decker cordless drill, Spirit level, quantity of screws, drill bits, Pneumatic nail gun attachments, Triton spindle sander, various locks and components, planes, part clamps, paste, polish, two aluminium ladders. All parts in used condition. CONDITION REPORT: This is a large lot but would fit in a small transit van. The stock is not boxed, buyers must remove all parts of this lot. It would fit into approximately 20 large plastic storage crates. Please refer to important saleroom information regarding the location of the items and collection details. This sale is off-site and collection is from NE29.

Ca. AD 1100 - 1200.A bronze ewer displaying an inverted piriform body gracefully balances upon a flared foot. Notably, the mouth of this ewer is fashioned in the likeness of an oil lamp, harmoniously complementing the channelled spout, specifically designed for precise pouring. The ewer features an intricately shaped handle that emerges from its side, accentuating the piece's overall elegance. The distinctive oil-lamp spout stands as one of the ewer's most remarkable attributes, a characteristic frequently observed in Seljuk metalwork. Adorned with elaborate arabesques, the main body of this ewer exhibits a captivating level of detail. Additionally, an ornamental band encircles the base of the ewer. For a similar, please see The Metropolitan Museum of Art, Accession Number: 33.96.Size: L:220mm / W:125mm ; 610gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s.

Large wooden tool chest with contents including spirit level, squares, planes, drills saws, etc

Cased Router set and a Laser Level

Chateau Rauzan Gassies 1924 Margaux & Chateau Trapaud Saint-Emilion 1966 Grand Cru Claret. Chateau Rauzan Gassies 1924 Margaux. 75cl bottle. Below shoulder fill level.

Collection of assorted bygones to include The Nelson Telescope, Truncheon, Spirit level etc.

"90th Year Barnes Wallis Flown Vulcan cover Signed A Harris, D J Shannon, L Cheshire. This unique item is a must-have for any military or autograph collector. It is a 90th Year Barnes Wallis Flown Vulcan that has been signed by Sir Arthur Harris Marshal of the Royal Air Force. Wing Commander David J Shannon DSO Dambuster Pilot 617 Sqn. started his operations with 106 Squadron where he took part in one of the early 1000 Bomber raids, and also in the low level attacks on specific targets, flying Lancasters. He was awarded a DFC after completing 36 operations. David continued to serve in 5 Group with Nos 106 & 617 Squadrons, being continuously operational from June 42 until July 44.He was awarded a DSO for his part in the famous Dams Raid raid operation Chastise May 16/17, 1943, he ended his war service on Mosquitoes and added bars to his DSO and DFC. Gp Capt Leonard Cheshire VC holder of 102 Sqn who was awarded the Victoria Cross when OC 617 ‘Dambusters ‘ Squadron following a range Mosquito ‘ Pathfinder’ attack on Munich with the Mosquitos diverting to RAF Manston on the return flight due to little fuel remaining." Good Condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Dumpy level by Cooke Troughton & Simms in metal case, Clare Ohmmeter and a Palantype court stenographers machine etc

19TH C. MAHOGANY BANJO BAROMETER. L.Casartelli (Liverpool), swan neck pediment with brass finial, tapering mahogany case, silvered dials, nicely engraved main dial, 100cms (h)NB Ivory licence ERFQNKPZ.Provenance: private collection CardiffComments: untested, very good cosmetic condition, the spirit level, glass and frame are loose but appear to be undamaged

A Vickers S24 surveyors level, type VLOC-C, in case, with adjustable surveyors tripod.

A Three-Piece Edward VII Silver Tea-Service, by Henry Wigfull, Sheffield, 1903, each piece in the Art Nouveau style, tapering oval, the sides chased with foliage, comprising a teapot, with ivory-insulated handle; a cream-jug and a sugar-bowl, the teapot 28cm wide over handle, total gross weight 35oz 18dwt, 1,118gr (3) With non-transferable standard ivory exemption declaration number B3SSZBMT.Each piece fully marked on side. The teapot further part-marked on handle and inside cover with conforming marks. There is some overall surface scratching and wear, consistent with age and use. There is some discolouration and cracking to the ivory not no indication that the ivory has been added or altered in any way. The teapot rocks very slightly when placed on a level surface.

An incised wood panel of a brass rubbing, probably earlier 20th century, depicting the church brass of Sir Thomas Peyton (1418-1484), (the original brass adorning his tomb in Isleham Church, Cambridgeshire)97 x 44cm framedDeal panel has one or two patches of uneven surface tone (see image), one level with the knee, the other by the feet, both right hand side. Another area across the top either side of the head (see image)Surface also shows some rubbing and vanish is distressed in places, some minor scratches and also some minor vertical splits.Hardboard to the reverse, unexamined out of frame, no inscripton on the back boards