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A set of four enamel spirit labels (4)

20th century | height: 24 cm | region: Central Italy | provenance: private pharmacy museum | Albarello faience pottery | Inscribed "Althea Nobilis", this jar is an example of a work from the 20th century that draws inspiration from the Renaissance style. Although not a Renaissance jar, its decoration and design mimic traditional Italian majolica – the tin-glazed pottery that was popular in the 16th century. The design of the jar includes rich ornamentation, including heraldic elements and winged mythological figures, typical of the Renaissance aesthetic. The central part is decorated with a coat of arms, which evokes the impression of historical nobility. jars of this type were traditionally used to store medicines and herbs, and the inscription Althea Nobilis refers to the medicinal herb (Althaea officinalis), a medicinal plant used in traditional medicine. This jar is an interesting example of modern craftsmanship that revives and honors the traditional aesthetic values ​​of the past, while serving as both a decorative and functional object in the spirit of Renaissance design. | 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/1tHSw43dCOlBuPJtIywuHT2HDUSqUuHsm?usp=sharing

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.

Castilian school. 16th century.‘Temperance’ and “Justice”.Pair of carved, walnut wood reliefs. 47,5 x 42,5 cm. each. This pair of incredible quadrangular white walnut wood reliefs representing Temperance and Justice must have originally belonged to a liturgical piece of furniture which would also have contained the other two Cardinal Virtues, i.e. Fortitude and Prudence. It is most likely that they were part of a set of Renaissance pews - without categorically ruling out their belonging to a cupboard or a door - as representations of the Virtues were quite common in the pews of this period due to their moralising character, as we must bear in mind that the moral conduct of the Human Being rested on them.Given the technical characteristics of both reliefs, the remarkable skill and finesse with which they are carved, and the fact that sculpting in walnut and the making of pews and other ecclesiastical furniture were not commissioned from just any master, it seems clear that their sculptor was a relevant sculptor of the Castilian school and that they were carved around the second third of the 16th century.Both Virtues have been depicted, as is often the case, as women of classical appearance, almost like Roman matrons or noble maidens with sophisticated headdresses. They wear wide, fine garments completely covered with small pleats that make the edges of the garments extremely faceted.The wet cloth technique is simulated in some areas, with which not only the plastic and volumetric values of the reliefs are highlighted but also the voluptuousness of the women, since through these fine garments the rounded forms of their bodies are suggested. As a general rule, they are worked in bas-relief, but in the most relevant areas, such as the heads, hands and attributes, the relief acquires greater volume, close to being in the round, but never quite reaching it.The heads are small, round and have expressive faces, serious in the case of Justice and more serene in that of Temperance. They have slanting eyes, carved with great detail both in the iris and the eyelids, and above them, sharp curved eyebrows that give them personality, as well as a chiaroscuro in the area of the eye sockets that enhances their volume. The facial features comprise smooth foreheads, broad, elongated noses, marked nasolabial folds, small open mouths with thick lips and bulging cheekbones. The ears are not visible due to the elaborate headdresses that almost completely obscure their hair. In the case of Justice, we can see a scarf that leaves free a couple of snaky locks that slide down her temples, and a ribbon that the anonymous sculptor models with great skill, creating a series of curves and counter-curves while displaying it from different profiles with multiple folds. For her part, Temperance also wears a kind of veil that leaves free a pair of locks of similar characteristics to those of Justice. Above the veil, the end of which seems to be moved by the wind, is a winged head of a putti, one of the most characteristic elements of Renaissance vocabulary. This same putti is found on Justice's neckline, almost like a brooch. Finally, Temperance wears a kind of cloth hanging from the ends of the buckles that cover her ears.Both women are perfectly identified both by the Latin signs carved on the upper part of the panels - ‘TEMPERATIA’ and ‘IVSTICIA’- and by the attributes they hold in their hands. Thus Justice elegantly holds a scale in her right hand - the allegory of the equality with which she must act - while in her left hand she wields a sword - the symbol of the strength with which she imposes herself - whose long blade occupies the entire height of the panel. Temperance, on the other hand, is seen pouring water from a jug over a wide goblet filled with wine in order to temper what is too stimulating.The conception of the two figures differs from each other, for while Temperance presents a closed composition, withdrawn in on itself, as well as having a calmer character as it embodies the Virtue it is representing, Justice is conceived with an open composition -see the arms- and shows a more decisive and dynamic spirit. Both differences in state, tranquillity and impetuosity, can be seen in another specific detail that they both share: the way in which the wind moves or waves the scarf or ribbon that covers their hair. We would like to thank Dr. Javier Baladrón, doctor in Art History, for the identification and cataloguing of this work.

Philippine school. Northern Luzon. Mid-20th century.‘Anitos - Man and Woman’.Pair of carved wooden sculptures.83 x 18 x 15 cm and 83 x 17,5 x 13 cm. ‘Anitos’ is the general name for the spirit of the deceased. Depictions of the ‘Anitos’ are found amongst the Igorot peoples, mainly in the Ifugao and Kankanaey tribes. They influenced life, either for good or for evil. By making sacrifices to these figures, the spirit of the ancestor, who is wandering and tormenting his own relatives, can find peace. 

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 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.

Mixed lot of vintage tools that include spirit levels, SPQR tappet adjuster, New Concept 12v drill, joinery invoices from 1943 etc.

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

Selection of vintage carpenters measuring devices that includes spirit levels, squares, calipers etc.

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.

3 180cm spirit levels.

A George III mahogany stick barometer, by J. Search, Soho, London, c.1780, the silvered vernier scale in arched window, beneath three acorn finials, further signed to the lower scale, 103 cm.The tube seems intact and shows a consistent column of mercury that responds either up or down with the reservoir adjustment screw, the spirit of the thermometer is evident and looks as if it responds to a finger placed on the tube (but very faintly)Generally good order, and seems to be functioning, this is no guarantee of accuracy or reliability as with any antique scientific instrument..

Six unusual silver plated spirit labels, Grape, Sherry, Currant, Masala, Masala, and Teneriffe (6)

Six unusual silver plated spirit labels, Mountain, Madeira, Rum, Lisbon, White Wine, and Pommard (6)

Nine unusual silver plated spirit labels, Calcavella, Ginger, Bucellas, Madeira, S ??, Perry, Malmsey, W Port and Rum (9)

Nine unusual silver plated spirit labels, Portvin, Hollands, Raisin, Madeira, Sherry, Brandy, Raisin, Noyeau, Port and Grape (8)

A late 19th century pearl and diamond brooch, the large pearl set within clusters of old-cut diamonds in foliate silver and gold collets with engraved decoration to reverse, length 4.4cm, caseAccompanied by SSEF report no. 81686, dated 27th August 2015, stating that the pearl is natural saltwater, weighing 28.716 carats and measuring 17.33-17.80 x 13.35mm.Provenance: formerly in the collection of Nancy Witcher Langhorne Astor, Viscountess Astor (1879-1964), MP for Plymouth, of Cliveden, Buckinghamshire.The pearl and diamond brooch originally belonged to Nancy Witcher Langhorne Astor, Viscountess Astor (1879-1964). Destined to become the first female Member of Parliament and one of the great society hostesses of her day, Nancy was born in Danville, Virginia, in the United States. She moved to England in 1905, having fallen in love with the country during a visit following the breakdown of her first marriage. Here, she met her second husband William Waldorf Astor, 2nd Viscount Astor (1879-1952). They were married in 1906 and received Cliveden as a wedding present from his father. Nancy soon became a prominent society hostess from her new lavish Buckinghamshire estate, as well as their grand St James's Square house, now the Naval and Military Club. Her charismatic personality and independent nature is wonderfully captured in her portrait illustrated here, painted in 1908 by the great society painter John Singer Sargent (1856–1925) and now in the National Trust collection at Cliveden. She was elected to the House of Commons in 1919, where she remained the Conservative MP for Plymouth for twenty-five years, championing education reform and women's rights. Later in her political career, she also held the role of Lady Mayoress of Plymouth from 1939 until the end of the Second World War. Known for her wit and combative spirit, Nancy also had a great love of finery.

Five small silver spirit labels, various dates, one Gin, Sherry, Whisky and two Brandy, each with chain suspensions, largest 4.5cm wide 1.5ozt (5)Condition ReportTarnisjing and wear.

Lindbergh, Charles A: The Spirit of St. Louis. Charles Scribner's Son, 1953, DW. Not an 'A' edition, but the dust jacket prices $5. Title page SIGNED 'CHARLES A. LINDBERGH, 1953'; ALSO: facing the title page the inscription reads: 'To my friend Hollis Williams, this book, by one servant of aviation, will be enjoyed, I hope, by another servant of aviation, with regards, January 5, 1954, [& Signed??]'. PP: xii, (ii), 562. Original blue boards, the dust jacket rubbed and with tears and small loss; otherwise VG [David Hollis Williams FRAeS (18 February 1900 – 2 April 1974) was a British aircraft designer]

1- [Hey, Rebecca]: The Moral of Flowers, Illustrated by Coloured Engravings Longman, et al. 1836, 3rd. Edn. 24 hand-coloured botanical plates. Cont. half leather, rubbed; 2- The Spirit of the Woods Illustrated by Coloured Engravings. Longman, et al. 1837, 1st. Edn. Complete with 26 hand-coloured plates. Cont. half leather, rubbed. Damp staining to covers and lower margins of the first and last few pages. The plates are clean; 3- Phillips, H: Floral Emblems. Saunders and Otley, 1825, 1st. Edn. Complete with 20 hand-coloured plates & illustrations. Original plain boards and label. (3)

Gr. Bronze Allen Jones(geb. 1937 Southampton) "Free Spirit", 1999. Exemplar 49/125. Braun/ grün patiniert. Stilis. Darstellung eines Mannes m. Hut, Silhouettenartig-bewegt erfasst, auf angeschrägtem Rundsockel. Am Boden geritzte Sign. "AllenJones", Schlagstempel-Nr. "49/125", Gießermarke (f. Ara Kunst). Oberfläche partiell leicht berieben. H 64,8 cmAra-Kunst, England, Exemplar, Hut, Signatur, stilisiert

*MAX BAND (1900-1974) A portrait of a Jewish worker in an interior, depicted three-quarter length, signed lower left, oil on canvas, 98cm x 62cm,Framed dimensions: 113cm x 77cm  Provenance: Private collection, Dorset.Note: Max Band was born in Kudirkos Naumiestis, Lithuania in 1900. This small village offered very little artistic guidance, however the young Band was determined to create. His first oil painting was made with homemade brushes he created from sticks.Band made his way to Berlin to study art where his talents were first recognised by the public. One of his first drawings was selected by his teacher and entered into an open exhibition. Upon seeing the work, a wealthy collector tracked down Band to purchase the drawing. Never considering or putting much care into the financial value his artwork should garner Band could not name a price. Upon being pressed for a figure, Band responded that he valued time over money, so a figure was agreed upon based on two months’ worth of food.The French critic Paul Fierens described the early period of Band’s career stating, “The refinement of his color, this what he owes to France, that that he has taken something of Chardin, Corot or Bonnard, but the Parisian sky, after Lithuania and the Louvre, quite naturally became his third master. Paris, with its pale azure, its inimitable greys, its delightful white, offered itself to Max Band as an example and gave him excellent advice."Max Band’s artistic output was largely made up of still lives, landscapes, and portraits of the sea. These subjects offer a free flow of color and movement. He also created many works of the Jewish religious experience during his life. These paintings offer a deep richness of feeling that could only be reflected by an artist of his skill and above all experience living through WWII.If one label can be attached to Band’s artwork it is Humanism. Whether it be the natural world, or more personal subjects, Band had a unique expression for deeper qualities hidden beneath the surface. This unique vision was best stated by the artist in describing one of his paintings of Jewish Talmudic scholars, “After living in France for nearly twenty years I began to see something strange in the eyes of the people. As the threat of bombing grew ever more menacing, the proud French people, who for centuries had walked in pride and freedom, as befitted a nation universally regarded as the epitome of culture and spirit, began to live in fear. It showed in their eyes and gestures. They listened for threatening sounds in the night.”Max Band left France in 1940 for the United States where he lived and worked for the remainder of his career. He passed away in 1974.

Christopher Richard Wynne Nevinson ARA (1889-1946) The Spirit of Progress lithograph 24 x 16cmLiterature: The present lot was illustrated in The Studio, April 1933, p.259

Large stoneware Brewery bottle, Jennings Brothers Limited, Wine & Spirit Merchant, Cockermouth, height 50 cm

A white Spirit of Peace horse on wooden base, no box

A mixed lot, including a spirit kettle with a broken handle, some brass ware, cigarette box

A white Spirit of Youth horse on a black wooden base, no box

A SET OF FOUR EARLY VICTORIAN AMBER GLASS SPIRIT FLASKS the bulbous pear-shaped bodies with single loop handles and plated neck mounts, each with a mother of pearl stopper inscribed "Gin", "Sherry", "Rum" and "Gin"Provenance: The Grey-Egerton Family, formerly of Oulton Hall.

A GEORGE III MAHOGANY CELLARETTE the rectangular top opening to a fitted interior in six sections, containing five glass spirit bottles, one bearing an old Seville Orange Bitters label, a single cupboard beneath two faux drawers, on chamfered block legs terminating in castors, 77.5cm high x 42cm wide x 28.5cm deepProvenance: Property formerly in the collection at West Hall, Long Burton.

λ&nbspANDREW HEMINGWAY (BRITISH B. 1955) THE STORE HOUSE Tempera on board Signed twice (upper left) 149.5 x 112.5cm (58¾ x 44¼ in.)Provenance: Private Collection, Canada (purchased from the Royal Academy Summer Exhibition in 1984)Sale, Christie's, An Adventurous Spirit: An Important Private Collection Sold to Benefit a Charitable Foundation, 13 December 2018, lot 295 Exhibited: London, Royal Academy, Royal Academy Summer Exhibition, 1984 London, Plus One Gallery  Literature: The Royal Academy Illustrated, 1984, p. 75 Condition Report: Unexamined out of glazed frame. Appears to be in good original condition. Condition Report Disclaimer

λ &nbspSIR EDUARDO PAOLOZZI (BRITISH 1924-2005) SPIRIT OF THE MOTHERLAND Collage Signed (lower right) 22 x 13cm (8½ x 5 in.)Provenance:Freda Paolozzi and by descent Literature:E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 25 (illus) Created in 1962 the History of Nothing is a twelve minute film of changing sepia and black and white stills put to an equally seemingly random soundtrack of locomotives, aircraft, barking dogs, church bells and Kabuki theatre. It is fundamentally a `Surrealist collage in time'`The materials from which Paolozzi made these collages... were collected over ten years. At their basis is the idea that in the relationships of such diverse subjects and materials there are always poetic possibilities. The sources of the collages are pages from the 1920s and 1930s German furniture catalogues, travel magazines, exhibition catalogues of ethnic art, and manuals of machinery.' (E. Paolozzi and J. Reichardt, The History of Nothing and Other Excursions, London, 1977/2023, p. 10) "I am interested above all, in investigating the golden ability of the artists to achieve a metamorphosis of quite ordinary things into something wonderful and extraordinary that is neither nonsensical nor morally edifying" (E. Roditi, Eduardo Paolozzi, Dialogues on Art, London, 1960, pp.153-54)     Condition Report: Some scattered area of staining, most likely caused by glue residue around the edges of the collage. Otherwise in good original condition. Condition Report Disclaimer

A square spirit decanter with double lipped mount, glass body, 12 inches high, London 1927 by CA GA, no stopper

A collection of approximately 49 vinyl LP records, mostly Rock and Pop - some recent reissues, including The Zombies; Love; The Jimi Hendrix Experience (x5); Neil Young (x5); Bob Dylan (x5); Camel (x2); Inez and Charlie Foxx; Focus; Spirit; Joni Mitchell; etc, condition mostly VG+.

A Limoges porcelain trinket box in the form of a turkey - hand painted, with gilt metal mounts and printed and painted factory and painter's marks, 9.2cm high; together with a silver plated spirit flask; and a Greek porcelain beaker, with 24ct gold printed neo-classical decoration on a deep blue ground, 8cm high, small glaze chip to lower edge. (3)

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.

A CARVED GILTWOOD CONSOLE TABLE 18TH CENTURY AND LATER, IN THE MANNER OF WILLIAM KENT The rectangular Portor marble top above an acanthus-carved frieze on paired massive eagle supports with spread wings and rocky plinth bases, regilt 95cm high, 184cm wide, 74cm deep Provenance: The Hon. Claude J. Yorke, and thence by descent Illustrated: The Connoisseur, May 1965, p.3  This console table relates to a giltwood table with a rectangular black marble top inlaid with pietre dure created by William Kent (1685-1748) for the 'Lords Dressing Room and Closet' (now the Blue Velvet Room) at Chiswick House, London, in c. 1727-32, for Richard Boyle, 3rd Earl of Burlington; it is now at Chatsworth House, Derbyshire (illustrated ed. S. Soros, William Kent: Designing Georgian Britain, New Haven and London, 2014, p. 495, fig. 18.37). Another pair of similar tables with eagle supports, attributed to Kent, is in the collection of the National Trust at Hatchlands Park, Surrey (NT 1166453.1-2). The eagle supports derive from antiquity, from Ovid's Metamorphoses when the shepherd Ganymede was borne aloft by an eagle to serve as Jupiter's attendant at the banquet of the gods. The design may have been invented by Kent, who depicted a pair of warring eagles atop a low table for Alexander Pope's rendition of the Odyssey (1725-26), and again for the tailpiece at the end of the list of plates in vol. 2 of his Designs of Inigo Jones (1727) (Soros, p. 422, fig. 16.12; p. 423). The Edinburgh cabinet-maker, Francis Brodie, included an eagle table on his trade card, published in 1739 (F. Bamford, Dictionary of Edinburgh Furniture-Makers, Leeds, 1983, pl. 24a). Eagle consoles include a pair formerly at Glemham Hall, Suffolk, sold Christie's, New York, 13 April, 2016, lot 30 ($245,000 inc. premium) and a single eagle table sold by the late Sir John Gooch, 12th Bt., Benacre Hall, Suffolk, Sotheby's house sale, 9-11 May 2000, lot 163 (£10,800 inc. premium). Condition Report: Good, structurally secure with dents marks and scratches and shrinkage cracks due to age and use. The marble top in good condition with some edge chips. The frame entirely re-gilt, the carcase timbers showing traces of a yellow wash and with old labels from Maples Depository. The wholesale redecoration of the table renders it difficult to determine with confidence the age are materials used but it appears the rectangular frame supporting the marble is 18th century, the applied leaf decoration may well be later. The eagles are probably also later, they don't seem to have the spirit of the 18th century and are very close mirror images suggesting they suggesting they were produced in a very considered way (untypical of the 18th century). That said the table is a handsome and imposing piece with great presence and in `showroom condition'. Condition Report Disclaimer

A ships decanter with engraved fruit, with Brandy label and two Regency cut glass spirit decanters; a globular inside out blue and gold vase, signed.

A pair of American cowboy resin figures, 19cm; a silver plated spirit kettle (worn) tankard, large pottery Dalmation (areas of paint missing) table lamp and matching tall ashtray.

Early 20th century oak brass bound coopered spirit barrel, 23cm long

Soul - ARETHA FRANKLIN: Seven LPs to include 'Lady Soul' (588 099, vinyl and sleeve VG+), 'Soul '69' (588 169, vinyl and sleeve VG), 'Amazing Grace' (K60023, vinyl VG, sleeve G+), 'The Best Of Aretha Franklin' (780 169-1, vinyl EX+, sleeve VG+), 'Ten Years Of Gold' (K 50328, vinyl and sleeve VG), 'Spirit In The Dark' (RVLP 1027, vinyl EX+, sleeve VG+) and 'I Never Loved A Man The Way I Love You' (4M101, vinyl VG+, sleeve EX+) (7)

Three pieces of Hugh Wallis handbeaten copper work and a brass spirit kettle on stand (lacking burner)

Group of glassware to include a Mappin & Webb silver mounted cut glass decanter (London 1977) Orrefors 'Prelude' cut glass decanter, Stuart Crystal etched glass spirit decanter and a Royal Brieley cut glass carafe and a pair of brandy glasses (6)

Three boxes of mainly ceramics. To include a collection of lidded tureens, part tea services, Midwinter, Alfred Meakin, Arcopol and Pearson & Co, Chesterfield flagon for 'R.L. Jones, Wine & Spirit Merchant, Mansfield'. Slight chip to the rim of the flagon, hairline cracks to some of the cups and saucers. Chips and crazing to some tureens.

A SILVER CURVED RECTANGULAR SPIRIT HIP FLASKUndecorated, height 13.4cm, hallmarked Birmingham 1939, gross weight 166 grams

A SILVER CHRISTENING MUG AND A SILVER SPIRIT FLASK (2)The mug with semi spiral fluted decoration, height 8cm, Sheffield 1904, the rectangular spirit flask with engine turned decoration, Sheffield 1966, combined gross weight 301

A GROUP OF SILVER AND SILVER MOUNTED WARES (12)Comprising; a three piece condiment set and two spoons, Birmingham 1957, with two blue glass liners, a pair of late Victorian vases, each raised on a square loaded base, Chester 1897, height 9cm and five spirit glass holders, Birmingham 1905, combined weight excluding the vases 191 grams

Corgi - Lledo - Toy World collectables - Gate - Six unboxed diecast vehicles to include a Bentley 1927, a ford Transit Milk van and a beetle in good-very good condition. A KG1004 set of four racing cars from Spirits of Brookland range. A Special Edition set DDU 1003 To Commemorate the 50th Anniversary of D-Day, KG1004 four-vehicle set from the spirit of Brooklands. Also a pair of Display models in cases; 201-01 Work Shop and 201-02 Gasoline Station. A 1/32 Willy's Jeep. Items appear to be in very good to excellent condition in boxes ranging fair-very good. (This does not constitute a guarantee) RG-2

Pokemon - A graded collection of four collectible Pokemon cards with one Pokemon sticker, graded by GetGraded. Lot consists of Generations M Gardevoir EX RC31/RC32 graded Near Mint+ 8.5 overall, SWSH Black Star Promo SWSH235 - 2022 graded Mint+ 9.5 overall, plus two Chinese language Jet Black Spirit cards being, Agatha 081/070 graded Mint+ 9.5 overall, Siebold 083/070 graded Mint+ 9.5 overall, and a Merlin Pokemon sticker Dragonite 149 - 1999 graded Excellent 7 overall. (This does not constitute a guarantee) (K)

Soul Journey Spirit Song models Zephyr and Pyra, bronzed resin (2)

N Gauge Dapol class 66 diesel, refinished as 66594, NYK Spirit of Kyoto, freightliner green, DCC fitted, excellent condition, wear to box. UK P&P Group 1 (£16+VAT for the first lot and £2+VAT for subsequent lots)

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.

GT217-SPIRIT - JAGUAR - LISTER 7.0 LE MANS S/C - 604hp – 1990 1:18 Scale Die Cast. Stock photo used. Brand new in box.

GTS18501W 1:18 Scale Die Cast GT-SPIRIT - LAMBORGHINI - DIABLO SE30 JOTA 1994.

GT788-SPIRIT - JAGUAR - XJS ESTATE LYNX EVENTER 1985 1:18 Scale Die Cast. Stock photo used. Brand new in box.