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Twenty mixed LPs, artists to include: Prince; Barry White; Lisa Stansfield; Level 42; George Michael; several 1980s compilation albums; and others. (20)

A leather shot flask, a small brass and copper hunting horn and a double B.R./W. 1955 spirit level.

SMALL ALUMINIUM TRACK LEVEL SIGN

STANLEY SPIRIT LEVEL

Spanish school; late 17th century."Saint Michael the Archangel".Oil on canvas.It presents faults and repainting on the pictorial surface.It has a 19th century frame.Measurements: 127,5 x 89 cm; 141 x 101 cm (frame).In this painting of purely baroque language, the archangel St. Michael is represented, dressed with armour, at the right moment in which he pierces the heart of the devil, who is supplicant under his feet. The impassivity of the saint's face, defined by soft and gentle forms, contrasts with the inhuman and malevolent expression of the defeated. This interplay of contrasts can also be seen in the tones used by the artist. These colours help to mark the dynamism of the scene, and give a certain emphasis to the movement of Saint Michael's clothes, which seem to be fluttering in the wind.The Archangels are the highest level of the Third Order in the angelic hierarchies, and are the only ones among them who have names. In the West, the Lateran Council (746) limited the number of archangels to three (Michael, Gabriel and Raphael), a circumstance that changed after the discovery in 1516 of a fresco in the church of San Angelo of the Carmelite order in Palermo in which the Trinity appeared with the seven archangels, which was reproduced (sometimes with variations) in numerous engravings, thus extending the iconography. Saint Michael the Archangel is a military saint, and therefore the patron saint of knights and of all trades related to arms, as well as to the scales, due to his role as an apocalyptic judge. His iconography is of considerable richness, but relatively stable. As a rule, he appears in the attire of a soldier or knight, holding a spear or sword and a shield decorated with a cross. When he fights the dragon, he fights on foot or in the air, which distinguishes him from Saint George, who is almost always on horseback. However, the main difference between the two saints is St Michael's wings.

Spanish or Novo-Hispanic school, first half of the 17th century."The Trinity receiving the soul of a Christian".Oil on canvas.Frame of the 18th century.It presents perforations. Restorations and faults.Measurements: 108 x 85 cm; 118 x 94 cm (frame).In this composition the ascension of the soul of a deceased Christian is illustrated in a very eloquent and descriptive way. The scene is populated by numerous biblical characters and religious allegories: on the lower level, two demons want to tempt the soul of the recently deceased, but St. Michael breaks in with his sword and a group of saints also watch over the good soul. In heaven, the Virgin awaits, occupying the centre of the composition, flanked by groups of bishops and archangels arranged symmetrically on either side. At the top, God the Father and the Son, together with the Holy Spirit, preside over the composition. Numerous phylacteries cross the skies and establish links between the figures. Stylistically, the painting is fully in keeping with the Spanish Baroque style, although it is likely to have come from workshops in New Spain.

Spanish school of the 17th century. Follower of JUAN DE ARELLANO (Santorcaz, 1614-Madrid, 1676)."Flower vase".Oil on canvas. Re-drawn.Measurements: 61 x 58,5 cm; 71 x 95 cm (frame).Still life of flowers perfectly framed within the full Spanish baroque, with a magnificent treatment of the qualities, the colours and, especially, the effective tenebrist illumination, which gives the flowers a presence and a three-dimensional aspect that reaches an illusionist level, almost like a trompe l'oeil. The flowers, worked in shades of red, ochre and white, emerge from the semi-darkness in a wicker basket, which has been worked with great skill. The skill in the treatment of the piece allows us to relate it to the prolific Juan de Arellano, an artist who specialised mainly in flower paintings and who achieved great skill in composing, with a contrasting palette, sensual bouquets in a language fully in keeping with the Spanish Baroque. After an initial period devoted to religious painting, Juan de Arellano decided to abandon the figure to specialise in the floral genre. In this respect, it is necessary to transcribe the response that the biographer and theoretician. Palomino, when asked about his almost exclusive dedication to flower painting, said: "Because in this I work less and earn more". Palomino also mentions that he may have spent time in Alcalá de Henares before coming to Madrid to work in the workshop of Juan de Solís. Arellano must have perceived the success that flower painting could have at court, where the market for flower painting enthusiasts was largely supplied by imports. In his works we can sense a move away from the tradition of Juan van der Hamen - continued by his pupil Antonio Ponce in a more formal and rigid manner - in a more complicated Baroque direction. His first influences came from Flemish examples, especially Daniel Seghers, thanks to which he was able to endow his works with a meticulous and precious technique that he always retained. He also copied extensively the works of the Roman Mario Nuzzi, known as Mario dei Fiori, one of the best definers of the genre and well known in Spain. From him he took a more lively formulation in his strokes that led him in the profuse and exuberant direction already mentioned. We know that he opened a shop in the centre of Madrid: as early as 1646 he had one in Calle de Atocha. It became one of the most important in the capital, where his works were known and acquired by a large number of noblemen, as is recorded in the abundant inventories that have been preserved. In addition to flower paintings, her studio also produced other genres such as still lifes, portraits, landscapes, allegorical and religious themes. He is known to have collaborated with other artists who painted the figures that Arellano surrounded with his floral compositions, such as Francisco Camilo and Mateo Cerezo. Among his disciples is his son José, who repeated his father's models with a less refined technique that reveals a certain dryness and a more muted chromaticism. His son-in-law Bartolomé Pérez de la Dehesa continued his still lifes of flowers and inherited his sensual interpretation of nature by applying it to more tranquil compositions. In technique, however, he is closer to the Italian painters. The Museo del Prado houses up to eleven canvases by Juan de Arellano. Most of them come from royal collections, as well as from the bequest of Xavier Laffite and the donation of the widowed Countess of Moriles. Of the works in the Prado, Still Life with Fruit is an exception to the artist's speciality, flower painting.

STÈLE D'UMA MAHESHVARA EN GRÈSINDE DU NORD, XIE SIÈCLE38 cm (15 in.) highFootnotes:A SANDSTONE STELE OF UMA MAHESHVARANORTH INDIA, 11TH CENTURY印度北部 十一世紀 砂岩濕婆與烏瑪石碑Provenance:With Claude de Marteau, Brussels, by 1970s 'As Uma-Mahesvara, their image shows Uma as part of Shiva's ambience, though not of his body. The togetherness of god and goddess is full of meaning on more than one level: Uma-Mahesvara may be seen as wedded divine lovers, exalted in their embrace; they may be realized in their togetherness as Purusa and Prakrti, Spirit and Matter, Essence and Substance – while each level implies the other, linked by a living myth. Their coincidence subsists in the work of art. Each age and school of art and each sculptor realized Uma-Mahesvara in a separate way, channelled by the iconographic guidance of the manuals on image making.' (Kramrisch, Manifestations of Shiva, 1981, p. 58.) Shiva's fingers hug Uma's supple waist as she nimbly reclines on his left thigh. Twisting her torso and raising her gaze, Uma dotes on Shiva while he looks forward with a searching gaze. Ensconced below are the divine couple's offspring, Ganesha and Kartikeya, as well as endearing depictions of their bull and lion mounts. The remaining carved surface is crammed with celestial attendants and mythical vyalas and makaras. Stylistic comparisons can be drawn with a stele attributed to the mid-10th-century in the Los Angeles County Museum of Art (M.75.11). See also a 9th-century Uma Maheshvara stele in the Victoria & Albert Museum (IS.113-1986).For further information on this lot please visit Bonhams.com

STATUE DE LAMA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4801 22 cm (8 5/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF A LAMA CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅鎏金喇嘛像Provenance: With Claude de Marteau, Brussels, by 1970s The charismatic face, with a prominent chin, broad smile causing creases on his full cheeks, and high cheek bones, has the mark of a true portrait commemorating an unidentified monastic leader. His identity may well be known in time, given that he appears to be the subject of another gilded bronze, also of great quality, preserved in the Náprstek Museum, Prague, and inscribed 'Kham-po (Abbot) Bsod-nams-Rinch'an la' (Jisl, Tibetan Art, 1957, no. 72). An exemplary level of care has been taken by the artist to convey the variety of patterned hems and fabrics comprising the monk's vest and outer robe. Over the proper right shoulder, the vest is revealed to have a central panel of meandering lotus stems connecting large blossoms viewed from above. Maintaining the perspective, a linear chain of lotus stems and flowers runs across his back, left shoulder, and chest, along the beaded hem of his outer robe. By contrast, the revealed hem of the monastic vest depicts a flatter, continuous leafy vine against a stippled ground. Further embellishments to the outer patchwork robe are worked with chevrons and floral medallions. These patterns imitate luxurious and highly coveted brocaded silk textiles received from the early Ming imperial court. In fact, the vest's central panel seems almost directly inspired by a Ming-dynasty yellow-and-red brocade, a panel of which is held in the Palace Museum, Beijing (Zong [ed.], The Complete Collection of Treasures of the Palace Museum: Textiles and Embroideries of the Ming and Qing Dynasties, 2005, p. 116, no. 133). The close affinity with early Ming textiles and the sheer refinement of this gilded portrait locate it in the 15th century, considered a renaissance period in Tibetan art history. Further still, the particular method of engraving to pattern the garments, the distinctive broad and raised lotus petals around the base, the base's tall foot, and the gilded baseplate on the underside, align with the work of an identified Tibetan master, Sonam Gyaltsen, who is known by inscription to have created superlative gilt bronzes for at least one monastery in Central Tibet, circa 1430 (see the Jamchen Avalokiteshvara by Sonam Gyaltsen sold at Bonhams, New York, 19 March 2018, lot 3033). The eccentricity shown in revealing a couple of toes from the lama's left foot peering out from underneath the outer robe is yet another indicator betraying the hand of a bold artist who delights in including unique features beyond the prescribed format of such portraiture.This lot is subject to the following lot symbols: •• Zero rated for tax, no tax will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

A FINE REGENCY MAHOGANY AND ROSEWOOD BANDED TEA-TABLE, c.1820, of rectangular form with beaded edge and long frieze drawer, with brass handles on a turned and fluted centre column, on channelled downswept legs and paw feet. 78cm high, 103cm wide Condition Report: Card table in very good original conditionRich colourSome light surface marksInterior in very good conditionFolding leaves lie flat and level, no warpingSome beaded moulding detached and needs reaffixingSee images

A large collection of Schoenhut circus figures and animals, early 20th century, to include two elephants, one dressed, three horses, two donkeys with leather ears, a cream wolf, eight clowns, two painted chairs, a ladder, four performing platforms, etc.,elephant toy 21cm wide 8cm deep 17cm high (27)In various conditions, the figures, and animals have been used as intended, so expect wear throughout. Most of this wear is at the surface level, this includes thinning and cracks to paintwork, staining, plus minor damages to fabrics, and wear to leatherwork. In some places, the wear is more serious, with losses to wood and evidence of historic repairs.Measurements: Elephants, 16cm high; three horses, tallest 18cm high; donkeys, 17.5cm high; a cream wolf, 11cm high; painted chairs, 13cm high; ladder, 30cm high.

A pair of silver models of partridges,by Edward Barnard and Sons, London 1989,each naturalistically modelled, 11cm high (2)Marks dirty but clear, both stand level in good order. Hollow, 255.6 and 253.6 ozt.

A boulle work desk stand,19th century, fitted with two inkwells over a pen tray,35cm wide24cm deep7cm highProvenance: The Gordon Gridley Collection, London.Brass tarnished and worn, the inkwells lacking covers, possible cover lacking from stamp box, doesn't stand level.

1969 Bollinger, vintage champagne, low level, stained labelQty: 1 bottle

1972, Fritz Allendorf, Rüdesheim Berg Roseneck Riesling Kabinett, x2 (low levels)1976 Sanctus Jacobus, Zeltinger Sonnenuhr Riesling Auslese, Mosel, x1 (cork dropped, level low)Qty: 3 bottles

Salt glazed stoneware Bellarmine jug,impressed with a mask and rosette, loop handle, 21cm.Condition report:The spout and handle not made level (lean to the right if you are looking from the handle), large chip and smaller rim chips to the top, the body near the handle has a made indentation and bubble imperfections, some unglazed patches to the handle and body, chips around the foot.

Cast Alloy Pre-Worboys Level Crossing Sign, by The Royal Label Factory, black on a white ground, inset with reflectors, two fixing holes at top, 31cm wide by 54cm high, some paint loss, G

Rivarossi Atlas N Gauge American Steam Freight Set, boxed and wrapped for display, Set 2802 includes Baltimore and Ohio steam locomotive No 96 and tender in black livery, four freight Cars, track, level crossing and power pack, museum No 2653, G-E, box G

Boxed Hornby O Gauge clockwork No 201 Tank Goods Set and Other Trains, the set with LMS 0-4-0T No 2270, 3 wagons including ed 'Royal Daylight' and track, contents G, box VG, with a boxed No. 51 loco and tender in BR green as no 50153, eight assorted boxed wagons including Manchester Oil, Level Crossing, No 2 turntable, signal box, signal, set No 3 Dinky Toy Passengers, 3 buffer stops and other items, all in original boxes and all G-VG, locos both tested okay, boxes G-VG, together with 3 Hachette wagons, G (qty)

A Hornby 0 Gauge Wagons-Lits Coach Nord Tender and other items, Wagons-Lits restaurant car No. 2862D in blue with gold lining, F-G, some rusting to one side, in remains of original box, box P, a pair of spare bogies for similar coach, an unboxed Nord 31801 bogie tender, F, complete but paintwork very flaky, a boxed post-war LNER passenger brake van, VG, box G-VG, unboxed post-war signal box with green roof, G-VG, boxed platform crane, G-VG, three buff station hoardings, F-G (posters need re-fixing), a re-based signal and LNER container, P-G, and early post-war boxed 'M' level crossing, G (qty as listed)

Post-war Hornby 0 Gauge Lineside Buildings, mostly boxed, including orange-roofed No. 3 station, green-roofed No. 3 station and signal box, with unboxed green-roofed Goods platform and another signal box, no. 1 footbridge, boxed platform crane, water tank and level crossing, 2 more unboxed and 4 buffer stops, mostly G-VG, moderate playwear (qty)

An unboxed Bassett-Lowke 0 Gauge electric BR 'Prince Charles' 4-4-0 Locomotive and Tender, in lined BR blue livery as No. 62078 'Prince Charles', driving wheels with recessed retaining nuts, overall G, lithographed finish very good, slight rusting under footplate level and to front coupler, rear tender coupler is an odd replacement (2)

A Mamod SE1 Stationary Engine Bing Table-Top 00 Gauge Clockwork Locomotive and Bassett-Lowke box, a rather mixed lot, the SE1 an earlier version for spirit firing (lacks burner) with water level plug, P-F, some corrosion, piston rod slightly bent, together with a Bing LMS crimson table-top 2-4-0T loco, P-F, body battered but mech works, and an empty Bassett-Lowke blue box for an 0 gauge LMS Royal Mail van, box G (3)

Two incomplete Mamod TE1a Live Steam Tractor projects, both with reversible engines, domed hubcaps to rear axles and originally for spirit-firing, one F, with burner, scuttle, safety valve, level plug and canopy, the other P, with scuttle, safety valve and level plug, but missing burner, canopy and with cylinder seized, both lack drive belts, steering extensions and other accessories, both grubby and with some rusting to firebox panels and other areas, together with a Mamod workshop grinding/polishing tool, lacks grinding/polishing wheels and securing nuts for same (3)

Boxed Mamod TE1a Live Steam Traction Engine LW1 Lumber Wagon and SE1 Stationary Engine, the TE1a in uncommon one-piece opening box with full-colour picture to top and Thorns Works address, box G-VG, the engine also G-VG, with level plug, brass whistle and steering extension, some surface corrosion to cylinder, steam pipes and some other unpainted parts, complete with spirit burner and scuttle (some rusting) and VG canopy, red legend uncommonly clean and un-faded, together with a LW1 trailer, VG-E in VG brown box, and a SE1 stationary engine in red 'window' box, appears very lightly used, box G-VG, slight fading to red and window needs replacement (3)

OO Gauge Airfix Dr X Adventure Train Set and Hornby Margate Task Force Action Set and Mainline Steam Freight Set, three boxed sets, 54052-8 Airfix Dr X Adventure Set includes diesel locomotive in BR blue 31401, blue/grey coach, two goods wagons, boxed track, boxed controller and boxed accessory pack, minus card wall, level crossing, and figures, Hornby Margate R580 Task Force Action Set, includes diesel shunter, flat trucks with tank and helicopter, track and controller, minus missile and one wall and roof of exploding van and Mainline LNER freight set includes LNER tank engine 581 five goods wagons, controller and incomplete track, G-E, boxes P-G, (3)

Hornby-Dublo 00 Gauge Duchess of Montrose Coaches Rolling Stock Track and Accessories, EDL12 BR gloss green 'Duchess of Montrose' with spanner and instructions dated 12 52, in original box with cover strip, unboxed matt green Tender, D20 WR Restaurant Car and unboxed BR blood/custard Brake/Second, TPO Mail Van Set, comprising Coach, pick up, two mail bags, switch, wires Instructions dated 1/57 and Guarantee slip, in original box, various wagons (9, five boxed), 4620 Breakdown Crane Set in matt red, three jacks, instructions dated 7/59, in original plain red box with card protector, Level Crossing, Island Platform, Footbridge (part painted), Railer, A3 Controller and Buffers, all in original boxes, ES6 and ES7 Coloured Light Signals, three switches (and wires) and Double Arm Signal, R/H Points (2), L/H Point and uncoupling rail, in original boxes, unboxed Water Crane, Loading Gauge (lacks bar) and qty of curves and straight track, generally VG, boxes F-G (qty)

A BOTTLE OF 1985 DOM PERIGNON CHAMPAGNE, CASE OPENEDLevel approx 1 inch below the foil

Two boxes of Vinyl LP records. To include Simply Red, Blondie, Level 42, Ultravox etc.

Wardie Master Models - Merit - Dinky - 15 x boxed 00 gauge railway accessories including Level Crossing # 49, Water Column # 41, Passengers # 2 and other similar items. They show some signs of age and play use an appear in Very Good condition overall. They are unchecked for completeness. (This does not constitute a guarantee)

A HOTPOINT HL500G GAS COOKER with eye level grill (UNTESTED)

SILVERLINE AUTO LEVEL THEODOLITE AND STAND

A George III framed silhouette, two corkscrews, spirit level and circular miniature painting

A Rawbone Chesterman level 92cm long

Collection of Brassware's inc. Spirit Level, Box plane, Sewing Machine Oil bottle and a Shire Horse rack

Original Cast Iron Level Crossing Sign 58 x 29cm

A 19th century mahogany four poster bed, with foliate carved and pierced arched headboard, the footboard with turned seven spindles, turned corner posts joined by high level frame, and raised on turned legs, 153 by 210 by 205cm high.

A Victorian Rosewood Four Glass Mantel Clock by John Frodsham, Green Church Street, London, the 3.75ins silvered dial with Roman numerals, subsidiary seconds dial with Arabic numerals, engraved with shell and foliate scrolls to spandrels, to the twin chain fusee movement with English level platform escapement, striking on a coiled gong, contained in rosewood case with bevelled glass top and side panels, the gilt handle cast with mythological creature heads on plinth base and four gilt flat bun feet, 10.5ins highCondition reportThe lot is in excellent overall condition having recently been subject to a full clean and overhaul including case.  The clock winds, runs and sets but should be regarded as untested.  Externally the case (recently refreshed) is in fine condition showing no obvious signs of damage or previous repair other than refreshment.  The glasses are all intact and original, however there is one small chip to the side glass near the keyhole for the main door. Overall an extremely fine example in excellent refreshed condition (all works carried by a known quality local restorer). Images within link belowhttps://www.dropbox.com/sh/xs2ajr3lz7ehkw0/AAA7b2KeVYxADFfGklcqmgj7a?dl=0 

2005 MG ZR 1.4 105 Trophy Make: MG Model: ZR Trophy Year: 2005Mileage: 53000VIN: SARRFRNBH5D806021Configuration: Right Hand DriveRegistration: LX05KMMTransmission: manualThe MG ZR was launched in 2001, as the 'hot hatch' variant of the Rover 25 supermini. This example is a post-2004 facelifted version, in 105 (with the figure approximately equating to the horsepower) Trophy form. The Trophy trim level added a sunroof, 16in 'Grid-Spoke' alloy wheels, new rear light clusters, leather steering wheel, and side sill and rear bumper extensions. This car was registered in August 2005 and has had two previous registered keepers from new. Its MoT is valid until April 2023. The mileage is circa 53,000. The car presents well inside and out. The history folder includes the V5C and the combined owner's handbook/service book, which is stamped up to 15,182 miles in October 2007. There's also a remote control key fob, albeit with its three buttons missing. PLEASE SEE BELOW FOR VIDEO PRODUCED 3RD JUNE BY ACA OF THIS CAR.

1999 Fiat Punto SX 60 Make: FiatModel: Punto SX 60Year: 1999Mileage: 33171VIN: ZFA17600005372474Configuration: Right Hand DriveRegistration: T568NUDTransmission: ManualThis is a low-mileage, one lady owner example of the Giorgetto Giugiaro-designed Fiat Punto MkI, with just 33,171 warranted miles recorded on its odometer. As an SX, the car is one of the mid-level spec models, and is fitted with the 60bhp 1242cc petrol engine. The car presents well, inside and out, with a very tidy cabin, although the rear wiper seems to be inoperative. It also drives well. The paperwork file includes the V5C and the original Fiat document wallet with owner's handbook, radio manual and dealership/service directory. There are also MoT certificates dating from 2019, 2020 and 2022 (with the present one expiring in February 2023) plus a set of spare keys. PLEASE SEE BELOW FOR VIDEO PRODUCED BY ACA OF THIS CAR.

1998 Ford Scorpio Ultima 24V Auto EstateMake: Ford Model: Scorpio Ultima 24V Estate Year: 1998Mileage: 168074VIN: WF0NXXGAGNWY11249Configuration: Right Hand DriveRegistration: R162PRETransmission: automatic In 24-valve Ultima form, this Scorpio was at the top of Ford's executive tree in 1998. The Ultima trim level was the highest one available, with a CD autochanger, climate control, leather seats, walnut veneer dash, cruise control, an automatically dimming mirror and electrically-operated seats as well as a variety of other enhancements over lesser models. The top-of-the-range Cosworth V6 engine gave 207bhp. With most of these flagship models being saloons, estates were comparatively rare. Rather fittingly, given that the Scorpio Ultima 24V could probably be regarded as the Rolls-Royce of Ford's

Original Cast Iron Level Crossing Sign 29 x 59cmThe buyers premium for automobilia items, including registration numbers is 15% plus VAT (18% in total)

A Hornby Dublo double OO gauge train set. Including a boxed Tank Locomotive B.R 6957, D1 Signal Cabin, D1 Level Crossing, T.P.O Mail Van set, ISPR Isolating Switch Points Right Hand, Advertising Rolling Stock, track transformers etc.

Collection of music programmes to include Mid Summer Music x 2, Status Quo, Genesis, Hollies, Level 42 x 2, Commodores, Tina Turner, with Live Aid book, Abba Annual 1979, Beatles poster by Graham Marsh, Amy Winehouse NME poster and reproduction The Beatles enamel sign

A collection of miscellaneous items to include a Victorian beech and brass mounted spirit level stamped Iron D Smallwood Makers, Birmingham, a silver clad mantel clock with quartz movement, a silver and enamelled pillbox etc

A tray of miscellanea including vintage level, fountain pen, lead toy lawn mower etc.

'0' gauge - Hornby Type 101 0-4-0 tank locomotive No.460; 6-wheel tender only from Hornby No.1 0-4-0 locomotive No.5600; both unboxed; Hornby No.1 Level Crossing, No.1 Water Tank and No.2 Double Arm Signal; all boxed; and quantity of track with track clipsCondition Report:Boxed items in good condition but boxes showing signs of age and storage wear.Locomotive and tender look to be in good condition.

Hornby Dublo - D1 Through Station; Royal mail TPO Set; two footbridges; two level crossings; trackside accessories including signals, telegraph poles, advertising boards, animals, figures, vehicles, buffers, track plans etc; mainly unboxedCondition Report:All previously fitted to a layout so quite grubby.Since removal stored in poor conditions so reasonable condition in need of cleaning.

'00' gauge - layout and trackside accessories including two bridges, fencing, rolls of backscene and retaining wall, High Density Cork Rolls, trees and hedges, figures, boxed coach lighting units, signals, buffer stops, level crossing, lever frame sections etc; some unused; in two boxesCondition Report:Condition varies - some unused.

CHINESE BLUE AND WHITE 'DRAGON' BOWL,19th century, the interior with dragon roundel, the exterior with dragons chasing the Sacred Pearl, six character Kangxi mark to base, 13cm diameterRings true, glaze gritting around rim, pitting around rim but glazed so probably present from manufacture, light scratches to bowl interior, a few light scratches to exterior, has not been pitted with a level rim, there is 'tilt' and is not even when viewed straight on, otherwise appears good, additional images available

A Victorian mahogany wheel barometer with a mercury cistern, c1880, with a flat top and rounded base, 8� silvered dial with weather predictions, steel indicating hand and brass recording hand, short spirit thermometer, butlers mirror (missing), hygrometer and spirit level.

AN 18TH CENTURY LARGE DUTCH DELFT BLUE AND WHITE VASE, inverted baluster form with octagonal neck rim and foot, decorated with reserves of flowers and chinoiserie scenes, the neck rim with applied collar with floral motifs, and topped by a domed panelled cover with foliate decoration, marked '800', base unmarked. 46cm high (including cover)CONDITION REPORTThe body with two indentations (production faults) to the sides at about shoulder level, the neck rim with v-shaped chip, light pops and general light surface wear. Cover weighs 12.47 troy ounces. 

O gauge and OO gauge model railways, including Tri-ang/Hornby OO gauge set RS62 Car-A-Belle, with cars, transporter, locomotive etc, boxed; two rolling-stock, small selection of track; Hornby O gauge Goods set no.30, with BR 0-6-0 locomotive, no.45746, track, two rolling-stock, boxed; and a Hornby no.1 level crossing, boxed.

O gauge model railways signals, buffers, accessories and track, including SEL no.730 railway signal with remote control, boxed; Bassett-Lowke two arm signal; other signals; Chad Valley buffer stops, other stops; Hornby turntable (x2), one boxed; level crossings, and a good quantity of 3-rail track.

Hornby O gauge model railway track-side accessories, including viaduct, boxed; Windsor station with platform; no.1 level crossing, boxed; no.1 and no.2 signal arms, boxed; four other signal arms; signal house; and a selection of track.

Spirits - Peres Chartreux Liqueur, Cointreau, Gilmour's White Port, Freezomint Creme De Menthe Glaciale, Unidentified bottle. (5) Lot 1418 - Peres Chartreux - no seal, level is below the neck. unidentified bottle - no seal. others are all sealed

ASSORTED COLLECTABLES comprising a Black Forest carved wood pocket watch stand, overall 13.5cm high; five Mauchline ware napkin rings; four assorted copper printing blocks, including one depicting a cricket match, the largest 8.25cm long; a travelling brass spirit level, 6.5cm long, in a plain (non transfer-printed) Mauchline style case; and a bone-handled dip pen with a Stanhope multi-view of Le Havre, (12).

dating: mid-17th Century provenance: Germany, Rifled, octagonal, 15 mm cal. barrel, bell-mouthed toward the nozzle, engraved and gilt with floral motifs at the first part and the nozzle, the owner's name 'W.C.V. KLENGEL OBRISTER' at the centre, all on blued background, blued, adjustable rear-sight and gilt foresight; tang decorated en suite; beautiful lock, inside wheel covered by a polychrome enamelled disk depicting trophies, flat plate engraved and gilt with warrior, trophies and floral motifs, the hammer and the plate at the same level, pan cover with spring button hidden behind a flower; dark, walnut full stock, decorated with finely engraved bone plaques, at the counter-plate the effigy of a war camp, soldier with war mace and halberd near a cannon among curls and flowers; at the left side another warrior over a large trophy, at the base tents and cannon; another trophy at the right, bone patchbox cover with trophy, more small plaques at the nozzle; semi-clear, smooth butt-plate, anatomic iron trigger guard, pierced, gilt iron base, leaf-shaped trigger, set trigger. Bone-tipped wooden ramrod with iron base. Some restorations. The name W.C.V. Klengel Obrister on the barrel corresponds to the name of the owner of this beautiful rifle. An Obrister (Oberster Feldhauptmann) was chief of a regiment of 4000/5000 soldiers in the 16th Century Germany. Wolf Caspar von Klengel (Dresden 8h of June 1630 - 10th of January 1691) was architect and engineer with the grade of artillery colonel. Klengel is considered as a founder of the Saxonian baroque architecture and was art-historically a most important Saxonian architect of the 17th Century. He was upper agriculture master and upper supervisor of the civilian and military buildings under the Saxonian cure prince Johann George II. Literature: 'Wolf Caspar von Klengel' by Günter Passavant, Deutscher Kunstverlag München, 2001.The weapon is attributed to Christian Herold, gunsmith of Prince Johann George II of Saxony. The Dresden Museum keeps other weapons by the gunsmith. The Dresden Armory keeps also an armour which used to belong to Wolf Caspar von Klengel. length 116 cm.

Eduardo García Benito (Valladolid, 1881 - 1981)"Pareja elegante, nocturno" (Elegant couple by night)Watercolour y gouache on paper. Signed. Circa 1920 - 25.25,8 x 52,3 cm.The painter Eduardo García Benito (1891-1981) was one of the most renowned and polished artists of the Art Deco movement. Born in Valladolid, he trained at its School of Fine Arts and Crafts and, later, at the Academy of San Fernando in Madrid. He was given a grant by the City Council of Valladolid to go to Paris in 1912, a city where he socialised with the great masters of the time (Pablo Gargallo, Julio González, Pablo Picasso, Juan Gris, Raoul Dufy and Amedeo Modigliani). His knowledge of the various avant-garde movements that were being developed at the time (Fauvism, Cubism, Futurism, Expressionism) led him to develop an eclectic style to which he added personal elements. The interwar period, the Roaring Twenties, was the period in which he reached the peak of his career, largely due to his discovery by the famous French couturier Paul Poiret (1879-1944) -whom he painted together with his wife in 1921- who attracted the best stylistic illutrators of the time to his company. Poiret, who had introduced revolutionary changes in women's clothing to suit the needs of the moment, took him under his wing and introduced him to the sophisticated and elegant world of the international fashion publications and magazines of Paris and New York: "Fémina" and the "Gazette du Bon Ton" in Paris and "Vanity Fair" and "Vogue" in New York.When Condè Nast (1873-1942) took over the Gazette du Bon Ton, he hired a number of illustrators, among whom was Benito -which is how our artist liked to sign his work- whom Nast himself came to describe as the most talented of all. Nast also owned Vanity Fair and Vogue, undoubtedly the most influential fashion publications, and required reading for the elite for almost a century, for which Benito made more than 100 covers between 1921-1940, in addition to exquisite illustrations and figurines. For "Vogue" he created striking covers in which he impressively combined geometry with colour contrasts. His style was defined by 1925. From that time his illustrations for these magazines stood out for the perfection of the drawing and their straight lines, the balance of proportions and the harmony of the whole. His characters are austere, stylized, geometric and elegant, with a crystalline structure and sculptural and cubist faces, all characteristics that contributed decisively to the forming and dissemination of Art Deco. In the clothing of the moment there was a trend towards internal freedom and comfort, and that is precisely what we can observe in Benito's drawings and sketches: light images capturing woman in the process of liberation -the old corsets and whale sashes were discarded- which created that languid and stylized image that fitted perfectly with the atmosphere of sophistication and frivolity of the time. The article dedicated to Benito by the writer Francisco de Cossío in the newspaper El Norte de Castilla in its issue of August 30, 1929 on the contribution of Benito to the world of fashion of the twenties is very significant. It reads: "To what extent is fashion a superficial art? García Benito finds the greatest inspiration for his creations in the grace of the elegant woman. Being, in a way, an auxiliary to the great couturiers, he knows how to raise the standard of his art by conquering the covers of the most elegant magazines in the world. The modern mannequin, stylized, shiny gold and silver, which brings us the memory of oriental idols, is his work. Creating for women, not only fabrics and colours, but attitudes, smiles, postures, rhythms … Elegant women come to García Benito's drawings to learn the secret of suggestion in modern elegance… ". From 1923 he lived alternately in Paris and New York, and in 1958 he returned to his hometown, bringing his most original artistic cycle to a close, although he continued to paint and work. The fact that the Congress of the United States, in the session of February 8, 1974, voted a motion of congratulations to Benito for his cultural work in that country is another proof of the level of importance that our artist attained. We would like to thank Javier Baladrón, doctor in History of Art, for cataloguing this piece.

JOANA VASCONCELOS (Née en 1971)Love in a Box 2015 carreaux peints, laine, perles en acrylique, polyester, contreplaqué, ferpainted tiles, wool, acrylic beads, polyester, plywood, iron226 x 123 x 46 cm. 89 x 48 7/16 x 18 1/8 in. Réalisé en 2015.Footnotes:ProvenanceAcquis auprès de l'artiste par le propriétaire actuelExpositionsToulon, Hôtel Départemental des Arts, Joana Vasconcelos. Exagérer pour inventer, 2018, p. 51, illustré en couleurs Wakefield, Yorkshire Sculpture Park, Beyond, 2020 - 2022, p. 11, illustré en couleursBibliographieDanilo Eccher, LOVE. L'arte contemporanea incontra l'amore., Milan 2016, p. 291, illustré en couleursNée à Paris, en 1971, c'est à Lisbonne que Joana Vasconcelos suit des études d'arts visuels à l'Ar.Co entre 1989 et 1996. Elle remporte de nombreux prix comme le prix jeunes artistes EDP en 2000, le Tabaqueira Fonds pour l'Art Public en 2003 ou encore le prix de la Fondation Berardo en 2006. En 2012, elle est la première artiste femme invitée à exposer dans le château de Versailles, puis, en 2013, représente le Portugal à la Biennale de Venise. Plus récemment en 2018, le musée Guggenheim de Bilbao a accueilli l'exposition Joana Vasconcelos. Je suis ton miroir, présentant une sélection exceptionnelle de 30 œuvres comprenant des œuvres monumentales et inédites.Artiste engagée, Joana Vasconcelos développe une œuvre politique, engageant une réflexion autour de la domesticité, de l'égalité des sexes et de la société de consommation. Détournant les objets du quotidien et en les associant parfois à l'artisanat, le savoir-faire portugais, elle offre des sculptures, des installations et des monuments qui prennent souvent place dans l'espace public. Love in a Box, réalisée à partir de carreaux de céramiques faits à la main par l'usine Viúva Lamego s'inscrit dans la tradition des azulejos qui ornent les murs de Lisbonne et que l'on retrouve notamment dans les cuisines. Les carreaux forment une fenêtre, leur surface est froide et dure. Ils sont néanmoins transpercés par des fils de laine souples à la texture douce et chaude. Ce contraste saisissant entre les matières et la disposition traversante des éléments annonce une implosion : la fin de l'enfermement des femmes dans leurs taches domestiques et l'égalité des sexes.Cette œuvre a été récemment exposée en Angleterre au Yorkshire Sculpture Park de Wakefield lors de l'exposition Beyond entre 2020 et 2022 mais également en France, à l'Hôtel Départemental des Arts de Toulon en 2018 lors de l'exposition personnelle : Joana Vasconcelos. Exagérer pour inventer. On retrouve les œuvres de Joana Vasconcelos dans les collections permanentes de nombreuses institutions muséales mondiales : National Museum of Women in the Arts à Washington, D.C aux Etats-Unis ; Museo de Arte Contemporáneo de Castilla y León en Espagne ; Amorepacific Museum of Art – à Séoul en Corée du Sud ; et le Musée d'Art Moderne et Contemporain de Strasbourg en France.Son activité sera de plus en plus prédominante dans le paysage culturel européen comme en témoigne le calendrier de ses prochaines expositions. Dans le cadre la saison culturelle France-Portugal, Joana Vasconcelos sera à l'honneur dans notamment deux manifestations d'envergure : Arbre de vie à Paris à la Sainte-Chapelle de Vincennes, Jardin d'Eden à la Maison Folie de Wazemmes de Lille ainsi qu' une installation de la série des Valkyries pour la gare de Lille-Flandres. Au Royaume-Uni, le Waddesdon Manor accueillera également une commande spéciale Wedding Cake pour la Rothschild Foundation.L'engouement international des institutions privées et publiques pour les œuvres de Joana Vasconcelos témoigne de l'importance de cette artiste qui ne cesse de se renouveler dans des créations engagées et saisissantes.Born in Paris in 1971, Joana Vasconcelos did her studies in Lisbon in visual arts at Ar.Co between 1989 and 1996. She won numerous prizes, including the EDP Young Artists Prize in 2000, the Tabaqueira Fonds for Public Art in 2003, and the Berardo Foundation Prize in 2006. In 2012, she became the first woman to be invited to exhibit at the Palace of Versailles, before going on to represent Portugal at the 2013 Venice Biennale. In 2018, the Guggenheim Museum Bilbao hosted the exhibition Joana Vasconcelos. I'm your mirror, presenting an exceptional selection of 30 works including monumental and unseen works. A socially engaged artist, Joana Vasconcelos has developed a politically orientated work, dealing with themes such as domesticity, gender equality and the consumer society. Transforming and reappropriating everyday objects, sometimes linking them to Portuguese artisan techniques, her practice includes sculptures, installations and monuments present in public spaces.Love in a Box made from ceramic tiles handmade by the Viúva Lamego factory hails to the tradition of the azulejos that adorn the walls of Lisbon, notably in the kitchens. The tiles form a window, their surface is cold and hard. Yet here, they are pierced by supple woolen threads of a soft and warm texture. This striking contrast between the materials and the cross-over layout of the elements announces an implosion: the end of the imprisonment of women in their domestic tasks in a move towards gender equality. This work was recently exhibited in England at the Yorkshire Sculpture Park in Wakefield during the Beyond exhibition between 2020 and 2022, before being featured in France at the Hôtel Départemental des Arts in Toulon in 2018 for her solo show Joana Vasconcelos. Exagérer pour inventer.The works of Joana Vasconcelos are present in the permanent collections of many museums across the globe, including the National Museum of Women in the Arts in Washington D.C. in the United States, Museo de Arte Contemporáneo de Castilla y León in Spain, the Amorepacific Museum of Art in Seoul, South Korea and the Museum of Modern and Contemporary Art of Strasbourg in France.Her work is taking a predominant place in the European cultural landscape, as evidenced by her upcoming exhibitions. As part of the France-Portugal cultural season, Joana Vasconcelos's work will be featured in two major cultural events: Arbre de vie in Paris at the Sainte-Chapelle de Vincennes, Jardin d'Eden at the Maison Folie de Wazemmes in Lille as well as an installation from the Valkyries series for the Lille-Flandres railway station. In the UK, Waddesdon Manor will present Wedding Cake, a work specially commissioned for the Rothschild Foundation.The high level of enthusiasm from international private and public institutions for the works of Joana Vasconcelos testifies to the importance of this artist, who continues to renew her artistic language through socially engaged and striking creations.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com