We found 31872 price guide item(s) matching your search

Games Workshop Warhammer figures, 40,000, plastic, painted to a high standard, some parts may be detached, unchecked for completeness or correctness, slight tobacco odour Good Plus to Excellent. (Qty).

Games Workshop Warhammer figures, 40,000, plastic, painted to a high standard, some parts may be detached, unchecked for completeness or correctness, slight tobacco odour Good Plus to Excellent. (Qty).

Games Workshop Warhammer vehicles plus some figures, 40,000, plastic, painted to a high standard, some parts may be detached, unchecked for completeness or correctness, slight tobacco odour Good Plus to Excellent. (Qty).

Games Workshop Warhammer scenery, 40,000, plastic, painted to a high standard, some parts may be detached, unchecked for completeness or correctness, slight tobacco odour Good Plus to Excellent. (Qty).

Games Workshop Warhammer scenery, 40,000, plastic, painted to a high standard, some parts may be detached, unchecked for completeness or correctness, slight tobacco odour Good Plus to Excellent. (Qty).

Games Workshop Warhammer vehicles, 40,000, plastic, painted to a high standard, some parts may be detached, unchecked for completeness or correctness, slight tobacco odour Good Plus to Excellent. (Qty).

Games Workshop Warhammer mixed group including: Age of Sigmar Soul Wars, various figures/stands in different stages of assembly, plus others; unchecked for completeness or correctness, slight tobacco odour otherwise Good Plus; (Qty).

A pair of 'tobacco leaf' dishesChinese export porcelainBoth with scalloped borders and polychrome Famille Rose enamel decoration depicting flowers and leavesQianlong Period (1736-1795)Diam.: 22.5 cm

Pair of covered potsChinese export porcelain"Tobacco Leaf" pattern decorationQing Dynasty, 19th century(restored lids)H.: 28.5 cm

A pair of 'Tobacco Leaf' scalloped platesChinese export porcelainWith scalloped borders and decorated in Famille Rose enamels depicting flowers and leavesQianlong Period (1736-1795)(one plate with restoration to the border)Diam.: 22.5 cm

'Tobacco Leaf' PlateChinese export porcelainWith fluted rim and decorated in Famille Rose enamels depicting pomegranates, flowers and leavesQianlong Period (1736-1795)Diam.: 29 cm

A Caldas da Rainha faience tobacco boxPortuguese faienceCaldas da Rainha manufacturePolychrome decoration(signs of wear and defects)H.: 11 cm

Group of 19th century stoneware ceramics to include a saltglazed tobacco jar with tavern scenes to side, water jug (a.f.), two miniature examples with silver collars, and a Royal Doulton silver collared jar by Mary Aitken. (5)

Mixed Lot: Vintage Merrschaum Turks Head tobacco pipe and one other smaller together with miniature salts formed as swans, a further small silver and enamel Norwegian salt and a pair of knife rests

A Players Navy Cut Tobacco box

WW1 British Trench Art Tobacco Jar made from a German Shell Case and engraved with the Rifles Brigade Cap Badge and "Tobacco". Along with a WW2 British Trench Art Ash Tray made from 17 Prd Anti Tank Gun Shell case dated 1944. (2)

A large collection of vintage pipe tobacco tins, also a vintage "Ante Drawingroom" sign, prints, EPNS, (A Lot). 

Royal Doulton Kingsware tobacco jar and cover (chip to rear).

Royal Doulton to include a Brangwyn meat platter, character jugs such as Queen Elizabeth, a stoneware tobacco jar (w/o lid) and others (Qty). In good condition with no obvious damage or restoration. Some surface wear noted.

Advertising enamel sign OGDENS ST JULIEN TOBACCO COOL AND FRAGRANT. In excellent condition mounted in its original wooden frame. Measures 49in x 13in.

A pair of Japanese Noritake vases, one a/f, a tobacco lidded jar in the form of a toad smoking a pipe, a Royal Belvedere Austria figure group, a Wade barrel shaped mug, an ashtray in the form of a boot and two items of Torquay motto ware **PLEASE NOTE THIS LOT IS NOT ELIGIBLE FOR IN-HOUSE POSTING AND PACKING**

Two 19th century Scottish Pottery items; Large Glasgow pottery Tobacco jar together with Maria Worth pottery basket pot

Antique Smokers cabinet containing a Scottish tobacco jar with lid. Comes with key.

A silver oval shaped squeeze action tobacco box, Birmingham 1908, 10x7cm, 78gm.

A Black Forest German ash tray with bear decoration, together with two tobacco containers, and other small smoking related miscellanea, housed in one box. (1 box)

A Dutch eighteenth century tobacco box, brass and copper, engraved with text and a scene, largely worn, 13cm in length.

Silver Match Humidor with a Hinged Lid, decorated with tobacco leaf, fitted interior with hygrometer 34cm.

A pair of Royal Doulton stoneware candlesticks, with applied decoration, 16cm high, together with a small bowl with blue glazed interior & a tobacco barrel without cover

A mixed collection of items to include silver-plated items, brass novelty items, glassware, tobacco tins and other similar items. (Qty)

A decorative Continental oval silver snuff or tobacco box, marks to base.

A Georgian red and gilt painted octagonal lead tobacco box - with dolphin finial (LWH 11.8 x 8 x 12cm), splits to seams and a little mis-shapen; together with a small group of other collectables including two china pipes, one painted with a capercaillie in a landscape at dusk; and an early 20th century deconstructed painted wooden money box.

Teisai Sencho (act.c.1830-50)Oiran opening a scrollColoured woodblock, 36cm by 24cmKatsukawa Shunsen (1762-c.1830)Standing beauty holding a samisen34cm by 22cmA Similar Woodblock A beauty holding a tobacco pipe37cm by 24cmFive Various Woodblocks, by Kitagawa Shikimaro, Kitagawa Utomoro, Utagawa Shikimaro, and two by Utagawa Kuniyoshi (8)Not examined out of frames. Some discolouration, fading, folds and creases. Display well. No visible tears.

Catherine Chambers First hand, 2025 Acryic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Catherine Chambers Class, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Alexandra Helm The Story waiting for its next Breath, 2025 Acrylic paint and gouache on khadi paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Helm has a diverse practice that places observational work amongst memories, emotional imprints and dreams. She gives form to an interior world, the starting point often being an emotion or state of mind. The viewer is invited to find themselves and their worlds within the work.   Education 2023-2025 Turps Art School, Correspondence Course   2011-2012 BA in Fine Art at Central Saint Martins (Year 1)   2008-2010 Foundation Diploma in Art and Design (Distinction) Chelsea College of Art and Design   Solo Exhibitions 2023 Extended Reality, Aldeburgh Beach Lookout, Aldeburgh, Suffolk   Group Exhibitions 2025 If Heavan Falls, The Lido Stores, Margate, England Split, The Dispensary, Wrexham, Wales   2024 Platforms Project, The Tobacco Factory, Athens, Greece Summer Contemporary, Snape Maltings, Suffolk, England   2023 Royal Academy Summer Exhibition, London, England Linden Hall Winter Show, Deal, England Woolwich Contemporary Print Fair, London, England Public Collections Bower Ashton Library, Bristol, England   Statement about AOAP Submitted Artwork These paintings started with colours and gestures on Khadi paper. Each developed through the connection between the materials and the forms as they revealed themselves. Unknown spaces are created in each of Seventh Heaven, The Boy the Fish and the Squid, The Story waiting for its next Breath. Mystery and dialogue that isn't explained is explored and can be felt within each.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Alexandra Helm The Boy, the Fish, and the Squid, 2025 Acrylic paint and gouache on khadi paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Helm has a diverse practice that places observational work amongst memories, emotional imprints and dreams. She gives form to an interior world, the starting point often being an emotion or state of mind. The viewer is invited to find themselves and their worlds within the work.   Education 2023-2025 Turps Art School, Correspondence Course   2011-2012 BA in Fine Art at Central Saint Martins (Year 1)   2008-2010 Foundation Diploma in Art and Design (Distinction) Chelsea College of Art and Design   Solo Exhibitions 2023 Extended Reality, Aldeburgh Beach Lookout, Aldeburgh, Suffolk   Group Exhibitions 2025 If Heavan Falls, The Lido Stores, Margate, England Split, The Dispensary, Wrexham, Wales   2024 Platforms Project, The Tobacco Factory, Athens, Greece Summer Contemporary, Snape Maltings, Suffolk, England   2023 Royal Academy Summer Exhibition, London, England Linden Hall Winter Show, Deal, England Woolwich Contemporary Print Fair, London, England Public Collections Bower Ashton Library, Bristol, England   Statement about AOAP Submitted Artwork These paintings started with colours and gestures on Khadi paper. Each developed through the connection between the materials and the forms as they revealed themselves. Unknown spaces are created in each of Seventh Heaven, The Boy the Fish and the Squid, The Story waiting for its next Breath. Mystery and dialogue that isn't explained is explored and can be felt within each. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Catherine Chambers Fortune, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Alexandra Helm Seventh Heaven, 2025 Acrylic paint and gouache on khadi paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Alexandra Helm has a diverse practice that places observational work amongst memories, emotional imprints and dreams. She gives form to an interior world, the starting point often being an emotion or state of mind. The viewer is invited to find themselves and their worlds within the work.   Education 2023-2025 Turps Art School, Correspondence Course   2011-2012 BA in Fine Art at Central Saint Martins (Year 1)   2008-2010 Foundation Diploma in Art and Design (Distinction) Chelsea College of Art and Design   Solo Exhibitions 2023 Extended Reality, Aldeburgh Beach Lookout, Aldeburgh, Suffolk   Group Exhibitions 2025 If Heavan Falls, The Lido Stores, Margate, England Split, The Dispensary, Wrexham, Wales   2024 Platforms Project, The Tobacco Factory, Athens, Greece Summer Contemporary, Snape Maltings, Suffolk, England   2023 Royal Academy Summer Exhibition, London, England Linden Hall Winter Show, Deal, England Woolwich Contemporary Print Fair, London, England Public Collections Bower Ashton Library, Bristol, England   Statement about AOAP Submitted Artwork These paintings started with colours and gestures on Khadi paper. Each developed through the connection between the materials and the forms as they revealed themselves. Unknown spaces are created in each of Seventh Heaven, The Boy the Fish and the Squid, The Story waiting for its next Breath. Mystery and dialogue that isn't explained is explored and can be felt within each.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Catherine Chambers Fly, 2025 Acrylic on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Catherine Chambers is a figurative artist who documents poignant moments, often from her experiences of living abroad in Ethiopia and the Middle East. Catherine is inspired by environments and their inhabitants, capturing intimate moments of connectedness. However, as with all good portraiture, there is more than meets the eye to her work. These works ask the viewer to confront the complicated dynamics of love, care and identity. This is Catherine's second time working with Art on a Postcard. Her previous contributions zoomed in on feet from her larger paintings. This time, Catherine has created postcards looking at the hands in existing works of hers. Education 2009-2012 BA (Hons) Drawing and Applied Arts, University of the West of England, Bristol, UK Solo Exhibitions 2019 I Appreciate You, The Embassy of Ethiopia, London 2016 A Brother's Progress, Freespace Gallery, Kentish Town, London Red Lodge Chair, Red Lodge Museum, Park Row, Bristol Possession(s), The Tobacco Factory, Bristol Group Exhibitions 2024 Herbert Smith Freehills Award, National Portrait Gallery, London Women In Art Finalists, The Roundhouse, London RBA Rising Stars, Royal Over-Seas League, London Wells Contemporary Art, Wells Cathedral, Wells A Personal Treasure, The Nunnery Gallery, London 2023 Missed Letters, Making Space Gallery, London New Wave, Spitalfields Studios, London Awe and Wonder, Chaiya Art Awards, Oxo Gallery, London 2022 Football Art Prize, Millennium Gallery, Sheffield Galvanise, Spitalfields Studios, London Art on a Postcard, The Bomb Factory, London 2021 Summer Show, Royal Academy of Arts, London Sunny Art Prize, Sunny Art Centre, London 2020 Summer Exhibition, Green and Stone Gallery, London 2018 Summer Show, Royal Academy of Arts, London Awards 2024 3rd Prize for The Herbert Smith Freehills Prize at the National Portrait Gallery Royal Society of British Artists Rising Star Women in Art Prize finalist Gallery Representation Mall Galleries, London, UK Statement About AOAP Submitted Artwork Fly is a cropped detail from a larger painting currently being exhibited at the Mall Galleries annual Royal Society of British Artists exhibition. The painting continues a conversation Catherine introduced with her painting "Lying" which won third prize at the National Portrait Gallery in 2024. In this painting, the same sitter holds a bird securely; as it is, the bird cannot fly despite being born to do so. Catherine wants the audience to contemplate, if you have something (could be a relationship, land, artefacts...) but you have it by force or deceit, do you really have it at all? And is it still worth having? Class is a cropped detail from Catherine's larger painting "Between Classes". The girl chooses colours to fill the outlines of a princess. The postcard questions how the girl came to choose those specific colours and how they differ to the girls own image. The work explores ideas of care, influence and status; how they overlap, interact and differ. Fortune is a detail from Catherine's larger painting "Nafkot (Yeabsra)". A child holds a popular paper game, commonly known as a chatterbox or fortune teller. It was introduced to the girl by Catherine in an exchange of sharing games local to one and foreign to another. Games are a recurring theme in Catherine's work, highlighting how unlevel the playing field is in real life. First Hand is a detail from Catherine's larger painting "Holding Space". The hand is of a dear friend of the artist, and celebrates a friendship that challenges outside expectations. It is a prompt to think for oneself and to learn from trusted resources. You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

FIGURAL XHOSA PIPE 19TH CENTURY, SOUTHERN AFRICA carved wood and lead, the long slender stem terminating in a finely carved human figure serving as the bowl, the male is shown nude, the hands held into the sides, with lead inlay indicating the waistband, necklace and armlets 57cm long Wills Cigarette and Tobacco Company Pipe Collection, England (ref 1233)Galerie Valluet, ParisBernice & Terry Pethica Collection, United KingdomPublished:Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection 2007, n° 105 “Because the vocational training offered by German missionaries working in the Eastern Cape area often included training in metal in ay techniques, many of the pipes produced by Xhosa-speaking carvers sport inlaid details depicting items of adornment like armbands and beadwork that are stylistically typical for the region. Although the display of genitalia in the depiction of mature men is uncommon, the fact that this is an older man is suggested both through the stocky proportions of the figure and the possible allusion to a headring. The heading, which was developed into an elaborate art form among some communities from the southern Natal region, may also have been used intermittently in the Eastern Cape. A mark of marital status in the Zulu kingdom north of the Thukela river, it was a variable index of age and status among several other groups in the area. Pipes with figurative bowls are likely to have been commissioned by men rather than women. The latter generally smoked from elegantly proportioned but comparatively simple, long-stemmed pipes.” (Klopper, Nettleton and Pethica 2007).

SHONA SNUFF CONTAINER SOUTHERN AFRICA carved wood, of cylindrical form and with an integral carved top, raised on a bespoke wooden mount 7cm diameter Bryan Reeves, London, United Kingdom One of the most notable forms of portable art among the Shona is the carving of small, intricately crafted objects, such as the present snuff container. Snuff bottles have been an element of Shona material culture since the Portuguese introduced tobacco in the late 16th or early 17th century. 

XHOSA PIPE IN THE FORM OF A HORSE 19TH CENTURY, SOUTH AFRICA carved wood, the long stem terminating in a bowl in the form of a horse 74.5cm long Wills Cigarette and Tobacco Company Pipe Collection, England (ref 1232)Galerie Valluet, ParisBernice & Terry Pethica CollectionPublished:Klopper, Nettleton and Pethica, The Art of Southern Africa, The Terence Pethica Collection 2007, n° 104 “This elegantly proportioned horse, which doubles as a pipe bowl, is characterised by a lively sense of animation. The carver of this pipe, who was clearly attentive to the way sculptural forms can be manipulated to impart a feeling of vitality, established a subtle echo between the arc of the horse's neck and its slightly raised tail. Since the pipe is awkward to hold, the patron who bought it presumably did so because he was attracted to this sense of vitality in the treatment of the form.”(Klopper, Nettleton and Pethica 2007).

Bristol orphanage Victorian needlework sampler - Late 19th century sampler from The New Orphan Houses (George Müller Homes), Ashley Down, Bristol, dated 1886 by Emily Eastman, worked in red petit-point on a cream ground with upper and lower case alphabet registers in various script over an arrangement of pictorial and geometric motifs, including a bible, anchor, bird perched on a branch, floral sprigs and ‘E Eastman, Bristol, Age 16 1886’, 30cm x 24.8cm, on later card backing framed under glass From the Collection of Bristol 1904 Arts (formerly 'Bristol Savages'). Emily Sarah Eastman was admitted to the Muller Orphanage on 25th July 1877. Her admission number was A5076.The Muller Homes trained girls for a future in domestic service and the 1891 census finds Emily working as a servant at a house in Hereford. By 1901 she had returned to Bristol and had entered into service for the family of a tobacco merchant at 2 Edgecumbe Road, Redland. Emily must have enjoyed a happy relationship with her employers as both the 1911 and 1921 census returns show her with the same family. She passed away on 8th January 1927 and is buried in Canford cemetery, Westbury-on-Trym, Bristol.Clevedon Salerooms gratefully acknowledge the assistance of the George Müller Museum, Bristol for their assistance in preparing this catalogue entry.

Mixed lot to include tobacco jar, vesta, shell cases, silver plated tray, ceramic ladles etc.

A collection of small collectable and travel items, including a small folding travel cup and another treen example, a small collapsible telescope, a Chinese pewter tobacco pot with three coins, two hipflasks and more

An Edwardian silver oval tobacco box, 9cm wide and 2.9 ozt, engraved exterior and having engraved panel marked "Lady Perley 1918 Sugar" and sold with a letter from a family member and facsimile of letters and a photograph of George V and Queen Mary

A small group of commemorative coins, medallions and an Imperial Tobacco 100th Anniversary Presentation set.

An early 20th century leather cigar / trinket box, of miniature form of a 18th/19th century cutlery box shape, with division inside, approx. 12.4cm high x 11.3cm wide, together with an early 20th century cylindrical tobacco cannister or tea caddy, with hinged demi-lune shaped cover with zinc lining, approx. 11.7cm high x 11.2cm diameter, and a 20th century curved oak two piece cigarette or card case. (3)

Unusual set of vintage tobacco scales by Pooley with weights and wooden base

A Late 19th Century Russian lacquered tobacco box with painted panel top. 10.5x9.5cm

A Mid 19th Century Crimean War lead tobacco box. Depicting the 4 major battles, Sebastopol, Balaklava, Alma, Inkerman. 15x11x13cm

Three Second World War German handmade POW / trench art aluminium ciggerette and tobacco cases, one example engraved '1945 Norwegen'

Two boxed Meerschaum and amber tobacco pipes, one A/FLocation:If there is no condition report shown, please request

λ ROBERT ORGAN (BRITISH B. 1933) TOBACCO PLANTS IN A VASE Oil on canvas laid to board Signed and dated 1983 (verso) 30 x 37cm (11¾ x 14½ in.)Provenance: Browse & Darby, London Condition Report: Light surface dirt. Otherwise appears to be in good original condition. Condition Report Disclaimer

A collection of tobacco tins and smoking related items.

Advertising mirror, 'Ogdens St Bruno dark flake, it's a Man's tobacco'', 50cm x 39cm

A WW1 medal group of three, awarded to S2SR-03330 Staff Sergeant R.B. Hagart, Army Service Corps, comprising 1914-15 Star, British War Medal and Victory Medal with Oak Leaf (Mentioned in Dispatches); together with a likely related miniature group of four (having the addition of the DSO), a silver-mounted tobacco pipe with barrel engraved with references to Hagart's war service and a period letter written by him; also a WW2 Defence Medal Condition Report:Available upon request

Miscellaneous cigars, to include Larra, two boxes of Jamaica Tobacco Co Caribe and others

Three carved meerschaum tobacco pipes and two others, early 20th c, to include a silver mounted pipe and another carved with an eagle's claw, two cased, 18cm l and smaller (5) No chips or cracks, some minor dents to silver mounting

Various items of pewter, some items marked London, 42cm charger, 2 x 25cm chargers, 34cm charger, 2 x 1pt tankards (1 with lid), 2 x 1/2 pt tankards, mustard pot, pepper, ink well, tobacco pot