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Three Lima "OO" Gauge Outline Diesel Locomotives, Class 26, R/No D5300, BR green Harburn Hobbies 1999 Exclusive Edition Certified No 118OF550, Class 66 R/No 66001 in EWS livery (missing buffers), Class 52, R/No D106, 'Western Gladiator' BR maroon (mark to bottom), boxed.

A Fair Quantity of "OO" Gauge/4mm Good, (Austria), loose track, straights (full and half), curves, points, a manual turntable. Plus platform sections, Hornby Signal Box, Engine Shed (R504), R501 Waiting Room, Bridge and Tunnel Components and a Lima "The Kings Head" Boxed Kit, overall condition good (contained in two boxes).

A Lima "OO" Gauge Motorail Express Train Set, comprising of Class 55 Diesel Locomotive, R/No. 9006, 'The Fife and Forfar Yeomanry', BR blue, Motorail Transporter with six cars, two Inter-City Coaches, track, boxed.

Five 'HO'Gauge Continental Outline Locomotives, a Lima 208152 Class D455 Bo-Bo diesel of FS Railway (Italy), a Lima 208308 Class BB-9419 twin pantograph electric of the S.N.C.F (both good and boxed), a Fleischmann Class 132 electric twin pantograph 2-6-2 of DB Rail (fair - unboxed). A Jouef 0-8-0 tank steam locomotive BR040 (fair - unboxed), A Jouef two unit S.N.C.F Evdeux rail car, red/yellow livery and a Jouef autorail Geneve Nice No 852 red/yellow livery both fair unboxed condition, all u/t (7).

A Hornby "OO" Gauge Boxed R576 Tunnel, Waiting Room, R145 Signal Box (2), A Triang R344 Track Cleaner, Controllers by Airfix, Playcraft and Triang; a Lima level crossing kit, Playcraft BR maroon coach and Ref No P650 Bogie Goods Wagon, etc. (19 items). All boxed Fair to Good.

Approximately Thirty-Seven Items of "OO" Gauge 4mm Boxed Rolling Stock; comprising six Hornby Triang coaches, thirteen Triang 4-wheel wagons, examples by Lima, Dapol, Model Power (USA) (2) and Kleinbarn (6). All Good to Good+, Boxes Fair to Good.

Three 'N' Gauge Steam Locomotives - A Grafar 4-6-2 Merchant Navy Class "Channel Packet", Southern Green, R/No 2101 boxed; A Lima 0-6-0 LMS Black Class 4F R/No 4547 (cased) and a Grafar 0-6-0 Std Tank LMS Madoun R/No 583. All good Untested Condition.

Six 'N' Gauge Diesel Locomotives, comprising Lima Class 55 "Meld", Class 55 "The Fife" etc, A Class 31 BR Blue R/No D5518; and three Trix, a Warship Class "Magre", A Class 31 BR Green R/No 5565; plus Class 27 BR Green R/No D5379. All Fair to Good unboxed Untested condition.

Approximately Fifty Items of 'N' Gauge Rolling Stock, cased and loose, examples by Kato, Lima, Fleischmann, Minitrix etc; mainly UK private owned wagons, box vans, tank wagons; Of Interest a Minitrix Ref No 510 Car Transporter and a Kato Ref No 8018-3 Car Transporter. Overall condition Good to V. Good.

Approximately Thirty "OO" Gauge Model Railway Rolling Stock Items by Triang, Hornby, Mainline and Lima, including tankers, open wagons, vans, coal wagons, rail freight, small parts may be missing.

A Large Quantity of "OO" Gauge Model Railway Track, by Hornby, Peco, Lima and Triang, variable condition.

Fourteen 'HO'Gauge Continental Outline Coaches, by LIMA (seven boxes), Roco Liliput etc, mainly DB and DSB livery, overall good condition, nine boxed, five loose.

Three 'HO' Gauge continental Outline Locomotives for Spares amd or Repair, comprising a Joeuf Ref HJ2219 Bo-Bo diesel S,N.C.F R/No BB 67368 (missing front and rea small parts, plus one bogie loose), otherwise good boxed condition, A Lima Ref 20824 DB Rail shunter (missing wheel rods), and a Klein Modellbahn electric twin pantograph Ref No 0481 Class E-BB-107, D.R Rail R/No EBB-107 (wheel rods missing) otherwise very good boxed condition.

Two "OO" Gauge/4mm Co-Co Unboxed Diesel Locomotives, a Lima Class 37 " Stockton Haulage" R/No. 37511. Plus a Hornby "Railfreight" R/No. 58001, both good U/T condition.

Two "OO" Gauge Outline Diesel Locomotives: Lima #L205169 Class 60 R/No 60044, Mainline 'Alisa Craig' (missing buffer), Hornby Class 66 R/No 66842, Advenza Freight livery, boxed.

Two 'OO' Gauge 4mm Unboxed Steam Tender Locomotives (Untested); A Lima LMS 'Mogul Class' 2-6-0 Rd No 13000 (Fair) and a Hornby 4-4-0 Class 2P LMS black Rd No 645 (Fair - untested)

Five 'N' Gauge Continental Outline Locomotives- Two Fleischmann Mountain Railcars Ref 70 7307 and 7969, both good with good pantographs, cased; A Fleischmann 0-4-0 Tank R/No LOK7 - A Lima DB Rail Class V100, unboxed; Bogie Shunter R/No V100 1026 and a 2-6-4 Tank Steam Locomotive DB Rail R/No 66002, unboxed. All Good Untested Condition.

Approximately Thirty "OO" Gauge Eight-Wheel Coaches by Lima, Hornby, Triang, multiple liveries including LMS, Inter City, BR green, playworn and better.

Three 'OO'Gauge/4mm Boxed Steam Locomotives, comprising a LIMA Ref No 205120 2-6-0 Class 5 Crab BR black, denumbered 42817 valve gear stiff due to (paint) poor weathering, otherwise good,a Bachmann Ref No 32-830 Ivatt Class 2 2-6-0 LMS black R/No 6402 (good), and a 0-8-0 Class Q6 BR black R/No 63394 (kit built with Bachmann chassis) good build/paint, all u/t

1 bt Livio Felluga Pinot Grigio Friuli Colli Oriental 2018 1 bt Dom Ott. Ch. Romassan Bandol Rosé 2019 1 bt Duo des Mers Sauvignon-Viognier 2020 1 bt The Society's French Dry White Pays d'Oc 2021 1 bt Adega Ponte de Lima Loureiro Branco Vinho Verde 2021 1 bt Vittoria Pinot Grigio Delle Venezie 2021 1 bt A Fistful of Schist Chenin Blanc 2021 Stellenbosch 1 bt A Fistful of Schist Chenin Blanc 2022 Stellenbosch 1 bt Victory Hotel Chardonnay Semillon Reserve 2022 S. E. Australia Above nine bottles

George II 1745 six pence, Lima mint mark - G/VG condition

Maler des 18./ 19. JahrhundertsPORTRAIT DES KÖNIGS ATAHUALPAÖl auf Holz.34 x 25 cm.Verso mit Etikett und Nummerierung.In ebonisiertem Rahmen mit Goldleiste.Der letzte König der Inka in herrschaftlichem Brustportrait leicht nach rechts gewandt dargestellt mit federgeschmückter Goldkrone, Kopfputz und Herrscherornat. Atahualpa (ca. 1502-Juli 1533) war der letzte Herrscher der Inka und Sohn von König Huayna Cápac, auf dessen Tod Atahualpas Halbbruder Nuáscar herrschte, den Atahualpa während des Inka Bürgerkrieges bezwang. Unter Atahualpas Regentschaft fällt auch die Einreise mehrerer spanischer Konquistadoren unter Francisco Pizarro. Die Spanier stellten Atahualpa vor ein Gericht und verurteilten ihn zum Tod durch Verbrennen auf dem Scheiterhaufen; nach seiner Taufe 1533 wurde er jedoch stattdessen erdrosselt. Sprung in Holzplatte.Provenienz:Französischer Privatbesitz.Literatur:Vgl. William H. Prescott, Discovery and Conquest of Peru, New York 1998.Vgl. Jeffrey Quilter, Ancient Central Andes, New York und London 2014.Vgl. Franklin Pease Garciaq-Yrigoyen, Los Ultimos Incas del Cuzco, Lima 1972. (1370025) (13))

A QUANTITY OF UNBOXED AND ASSORTED OO GAUGE MODEL RAILWAY LOCOMOTIVES AND ROLLING STOCK, locomotives include Lima class 55 Deltic 'Meld' No.D9003, B.R. two tone green livery (L205105), missing buffers from one end, Lima class 43 Warship 'Rapid' No.D838, B.R. maroon livery (L205129), missing coupling hook from one end, Hornby class 47 renamed and renumbered as 'Sir Walter Scott' No.47 710, Hornby class 37 No.D6830 (R751A), both in B.R. blue livery, three Hornby tank locomotives, class 101 Holden No.2, Crewe & District Quarries blue livery (R796), class D Industrial No.63, S.R. green livery (X10228) and Freelance 0-4-0 'Queen Elizabeth II' No.60, purple livery (R3091) Hornby Collectors Club special edition model, assorted coaching stock, to include Tri-ang Pullman and Transcontinental, Tri-ang, Hornby, Lima, HO items by Lima and Frateschi, freight rolling stock includes repainted Wrenn L.M.S. Goods Brake Van (W4311), 2 x Hornby S.R. bogie Utility/Luggage van (R4122) etc., majority in good condition

A BOXED LIMA OO GAUGE DIESEL LOCOMOTIVE, Class 37 , No. 37 111, 'Loch Eil Outward Bound' (L204680), 159/500, boxed with instruction, outer cardboard box is slightly worn

A QUANTITY OF UNBOXED AND ASSORTED OO GAUGE FREIGHT ROLLING STOCK, LINESIDE BUILDINGS, ACCESSORIES AND TRACK, assorted wagons by Hornby Dublo, including L.N.E.R. 'Blue Spot' Fish Van (4300), repairs to under van brake gear, Tri-ang, Hornby and Lima, assorted building including Minic Motorways Bus Depot (M1803), constructed cardboard building kits, various station and lineside accessories, assorted Tri-ang and Hornby track, unboxed Gaugemaster Series 100 and Tri-ang P4 power controllers (not tested) etc. (2 boxes)

A QUANTITY OF UNBOXED AND ASSORTED HORNBY AND LIMA OO GAUGE CLASS 43 INTERCITY 125 POWER CARS AND Mk.III COACHES, comprising Hornby power car No.W43002, dummy power car No.W43003 (from set No.253 001),(R069 & R070), similar power car No.43010 and dummy No.43011 (from set No.253 005) (R370 & R371), all in B.R. InterCity blue and yellow livery, power car 'Maiden Voyager' No.43063 and dummy power car 'Lady in Red' No.43093, both in Virgin Trains red and black livery (R2045), Lima power car No.43126 (from set No.253 028), B.R. InterCity executive grey livery (L205184), five Hornby Mk.III coaches, three are the seven window version in B.R. blue and grey, the other two eight window versions in Virgin red and black livery, with a Tri-ang Blue Pullman power car and dummy power car, both No.W66095 (R555 & R556), all items appear in good condition with only minor wear, Blue Pullmans have wear to roof and decals (14)

UK , 1746 , KING GEORGE 11 , LIMA , SILVER HALF CROWN . FINE CONDITION

King George II 1746 Lima half crown, good/fine

King George II 1745 Lima shilling, good/very fine

A tray of boxed die cast locomotives including Lima, Roco etc

A tray of rolling stock : Liliput model Modellbahn HO scale set of carriages, Lima locomotive, Wrenn etc

A «Mwana Pwo» Mask, wood, fibers and metal, it has copper rings in both ears, with a religious medal on the left one, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, minor defects, 20th C. (3rd quarter). Sculpted by Samuentacuta Utende, Lóvua post, Chitato municipality, Lunda-Norte province, in 1963. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 6 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work entitled "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of the Huambo Town Hall (former Nova Lisboa) - Angola, p. 13. Original work available at https://memoria-africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, accessed March 16, 2023 at 11:16. Item number 2, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo (Jovem)»:"Tattoos: - on the forehead: «Txíngelengele» or «Samanana», a cruciform sign that must be or was a symbol of the Tshokwe people, who still bear it in all manifestations of art; - on the nose: «Cangongo» (small bush mouse, with thin fur, considered a delicacy) - this tattoo serves, in part, to differentiate the Tshokwe from the other peoples of Lunda; - on the chin, cheeks and corners of the eyes: «Mipila» which means traces [...]. Copper rings on the ears («Txijingu»), with a religious aluminum medal on the left one. [...] The masked man's suit is made of mesh and has fake breasts, usually made from gourds. Over the costume they wear a kind of skirt in fabrics of feminine taste and a thick dance belt (muia) applied over the hips, decorated with beads and bells, a belt that is exclusive to women, with the purpose of highlighting the lively movement. from the hips. The choreography of the masked man, who is a professional dancer, is characterized by mime, gestures and woman's steps, in which the voluptuous movement of the hips predominates. In addition to representing Woman, the feminine genius of dance, grace and beauty, it can also represent a spell (Wanga) «Kaponya Ka Pwó» [...] of terrible effects. When a «Mukixi Wa Pwó» dancer dies, the mask should normally disappear with him. Therefore, the heir by matrilineal descent, the nephew, the eldest son of the eldest sister residing in the village (here the avunculocal rule is observed), must take the mask and the garment, wrap them in cloth and leaves, take them to a secluded spot in the forest, usually close to a river bank, dig a deep hole and bury them carefully. When he deposits the mask at the bottom of the hole and starts to pour earth over it to cover it, he utters the following words: “Go and stay with my uncle, whose companion you are. He was a great dancer thanks to you and that's why you should accompany him. I'm going to make another mask to continue my uncle's work, which will certainly help me to be as good as he was»). [...] Mask sculpted by Samuentacuta Utende, relative of Soba Tchissessengue, Posto de Lóvua, municipality of Chitato, Lunda, in 1963. Purchased on the advice of its sculptor, an artist of great fame, who also worked for commissions for the Museum of Dundo, in June 1965, when I visited this Museum [...]." Cf. bibliography referred to by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 150; and LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, (possibly) pp. 40 and 42-43, figs. 42 and 45. A «muia» is essentially an exterior belt - cf. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisboa: Junta de Investigações do Ultramar, 1960, p. 68. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 22 cm

Four different combs, wood, carved decoration "Geometric and anthropomorphic motifs", Angolans - Tshokwe (related peoples), 20th C. (mid), faults and defects, patina wear, purchased: two in Luena in 1965 and 1970; one in Lumeje in 1967; and another one at Munhango in 1966. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, these combs correspond to items with numbers 5, 81, 82 and 83 mentioned in the notebook of the collector «Angola - Arte Negra, relação e descrição das peças». Item nº 5 is identified in this notebook as «Pente Txissaculo - pl - Issaculo», items nº 81, 82 and 83 are each identified as «Txissaculo». With regard to item number 5, it is mentioned that: "The hexagonal handle has, on the front part, engraved a face (two eyes, nose and mouth) and, contouring the sides of the polygon, two grooves; on the back part geometric drawings: two lines of small rectangles limited on the upper side by three grooves and on the lower side by four.The front side of the crosspiece is decorated with a drawing called «Caputita» or «Tupuita», often used in tattooing. Abbot Brevil interpreted it as being the schematic representation of the woman. H. Baumann, who found it in almost all the Bantus in Africa, interprets it as the man and the woman in copulation. On the back, the rectangle is divided by its diagonals and the triangles formed are decorated with grooves, some vertical and others parallel to one of the diagonals. [...] Item purchased from a Luena woman, in the sanzala of Soba Nacalunda, south side of the concentration of populations of Lumeje, on 30. Maio. 1970 [...]. Cf. Bibliography referred to by the collector: LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, pp. 37-38. No. 81 is described as containing "Crosspiece decorated with incisions surmounted by a rod that has a carved head on top. [...] Purchased in Luena in 1965 [...]. The piece with no. 82 is described, containing a "Crosspiece decorated on the front side with incisions representing «Couris», surmounted by a rod with a carved head. [...] Purchased in Lumeje in 1967 [...]." No. 83 is referred to in the notebook, containing a "Crosspiece decorated with incisions, surmounted by a rod with a carved head. [...] Purchased in Munhango in 1966 [...]." "Musical instruments, combs, pipes, axes and finely crafted stools may include elaborate figurative and/or abstract motifs and belong to anyone who can afford to get them" - cf. JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". Lisboa: Museu Nacional de Etnologia, 2000, pp. 92 e 114-115. "Native-made combs are still very common in the Northeast of the Province, not least because their usefulness has intensified a lot in the last few decades, due to the disuse of the old red clay headdresses, which dispensed with daily care with the hairstyle. This type of headdress also influenced the disuse of hairpins, which are now replaced by combs. The ulotric hair of Africans admirably allows for the most varied headdress fantasies, and the comb is therefore a very useful piece. It also serves as an adornment, nailed in a suitable way, in the hair. For this reason, it is common for the crosspieces on the combs to feature cute carved decorations, sometimes with openwork, sometimes surmounted by small representations of women's heads, full-length human figures, birds and other motifs. There are two types of combs: those with staff sticks held together by fibers of cajana (a kind of reed), and those made of wood, whole, with teeth carved from a spared crosspiece that serves as a base."- cf. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, pp. 26-27. Other combs are represented in SANTOS, Soraia Ferreira (coord.) - "Herança Secular dos Povos do Sul de Angola". Lubango: Museu Regional da Huíla, 2018, p. 129, nº inv. 2004.R.25; in DIAS, Jorge (direc.) - "Escultura Africana no Museu de Etnologia do Ultramar". Lisboa: Junta de Investigações do Ultramar, 1968, s/p, nº 157; in JORDÁN, Manuel. “Chokwe!- Art and Initiation Among Chokwe and Related Peoples”. Munich/London/New York: Prestel-Verlag, 1998, s/p, nº 52; in BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, p. 242, nº 164; and in the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lot 46., Dim. - (o maior) 19 cm

A «Mwana Pwo» Mask, wood, fibers and metal, It has metallic rings in both ears, a mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), faults and defects, purchased in Dundo, Lunda-Norte, in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Figs. 10 and 11 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa) - Angola, pp. 14-15. Original work available at https://memoria- africa.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 3, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila» (dash); - on the cheek: «Misoji (tears), «Lumba» (wheels) and cruciform marks; - on the chin and next to the lips: «Mipila» (singular «Mupila»); - on the nose: «Cangongo». Separating the "trilobed" hairstyle from the forehead is a row of 9 round brass studs. Two hoops to make earrings. [...] [...] Purchased on the outskirts of Dundo - Lunda, in June 1965, after a long week of talks and negotiations [...] and a new mask that had been offered to me by the Dundo Museum and executed by its private sculptors". The hairstyle depicted on the mask may be the "Kalarika" hairstyle, which is a Tshokwe hairstyle worn by women - vd. SANTOS, Eduardo dos - "Sobre a «Medicina» e a Magia dos Quiocos". In "Estudos, Ensaios e Documentos nº 80". Lisbon: Junta de Investigações do Ultramar, 1960, p. 130, fig. 124-125. For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (as "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (as "Masque Pwo"/"Pwo"); The catalog "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 and 153, nºs 11-15 (as "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/ collection/search/319264?ft=Pwo&offset=0& ;rpp=40&pos=1, consulted on March 14, 2023 at 15:37, Dim. - 17 cm

A «Txihongo» mask, wood, fibers, metal, resins and pigments, has a religious medal on its right ear, a mask representing the male ancestor, used by professional dancers in various types of ceremonies., Angolan - Luando region (North of Cuemba), 20th C. (1st half), minor faults and defects, traces of wood insects, possibly from the Luando region, Cuemba municipality, Bié province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 47, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified therein as «Máscara Txihongo»: "It represents the male ancestor and, so to speak, is in opposition to Muana Pwó. This masked man's choreography is characterized by a series of hip movements that demonstrate hardness and firmness; all of it is masculinity. He is a professional dancer who goes through the villages dancing and receives money and gifts for his performance, just like Muana Pwó. The main characteristic of this type of mask is the protrusion in the chin area, which symbolizes the beard, a male attribute. The face, which is very expressive, has a prominent, pointed forehead. [...] Decoration: on the forehead: a yellow stud under a «Mupila» tattoo. Other tattoos: under the eyes - «Masoji»; on the chin: «Mipila»; on each face a semicircle ("Kakweji" = Moon). In its right ear, it has an earring (religious medal - Our Lady of Fátima and Sacred heart of Jesus) suspended by a wire; the left earlobe has two holes. Gift from Padre Gabriel [...] of the Mission of the Benedictines of Cuemba, in 1966. It had been obtained by Padre Gabriel in the Luando region (North of Cuemba) in 1959 [...]". Cf. bibliography referred to by the collector - LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 166 and (possibly) 160. For the same type of mask vd. BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 12 and 95-98, nºs 34-37 (as "Masque Cihongo"); and LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, p. 67, nºs 28-30., Dim. - 21 cm

A «Mwana Pwo» Mask, wood, fibers, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), missing headdress and neck netting, other faults and defects, possibly from Luena, Moxico Province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 186, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Pwó»: "Well-sculpted protruding ears with pierced lobes; thin, upturned nose, with large, well-designed nostrils; open mouth with two rows of teeth; pointed, projecting chin. Decoration: on the forehead, from one ear to the other a symmetricaldecoration made with incisions that intersect (?) obliquely, with an undecorated space in the centre Tattoos: under the ears, on the forehead: variant of «Txiguelenguele» or «Samanana» characteristic of the Tshokwe (?). [...] On the faces: a tattoo on each side, symmetrical. [...] Offered by Jorge de Jesus Mouta, [...] on 6/3/72. This mask had been offered to him by an old merchant from Luena who had owned it for many years [...]. Comparing this piece with others that I had or have and that I saw up close, it seems to me that this one is lighter, which results from being much less thick, which is very clearly seen in the part of the faces that are broken, where the wood is not even 1 millimeter thick. Is this low thickness of the mask a feature of antiquity? I think so." For the same type of mask vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, fig. 40-45 (como "Masque Pwo"/"Pwo"); the catalogue "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nº 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola" In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nº 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; the auction catalogue held on February 1, 2023 at Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; and https://www.metmuseum.org/art/collection/search/319264? ft=Pwo&offset=0&rpp=40&pos=1,, Dim. - 17,5 cm

A «Mwana Pwo» Mask, wood, fibers, cotton, beads and pigments, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies., Angolan - Sandando, 20th C. (mid), minor faults and defects, carved by Txiezo Santope of the Sanzala Liangongo (Sandando, Moxico), used in the Sobado of Nhalukatuca of Cassai, Luena, Lunda province. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, piece number 58, referred to in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Lya Pheu» : "Tattoos: on the eyes: «Mutelumuna» which means to look sideways; in the middle of the forehead: variant of «Txiguelenguele» or «Samanana» characteristic of the quiocos (?); at the corner of the eyes and on the chin: «Mupila»; on the faces: two «Puniba» (?) (wheels) with a cross inside connected by «Tubenga» (?) which means something that is not straight or else the schematic representation of the skin of the jaguar or the musical instrument «Txinguvo» . This mask belonged to the dancer golale(?) of the NHALUKATUCA sobado (Luena) of Cassai. The mask was executed by the sculptor Txiezo Santope from Sanzala Liangongo (Sandando). The dancer who owned it called it Muana Pwó, which is the name because it is known among the Tchokwe. Purchased in Kasai (in the village located on the left side of the railway and east of the C.F.B. station) on 27 June 1970 [...]. Note: The mukixi Lya Pheu of the Luena performed the same function as the Mwana Pwo of the Tshokwe, and their masks are structurally identical. From my personal observation, I think I can conclude that a practical way of distinguishing them (in addition to possible identification by tattoos and hairstyles) is by the size of their family. The pure Tshokwe Muana Pwó masks have the face with a pronounced curvature (U). The more the mask moves away from its original formal purity, the more the face presents itself with greater curvature, which happens in Lya Pheu masks. This mukixi was also adopted, with the same symbology, by Bundas (Lya Mumbanda), Luxazes (Lya Mumbanda) and Guenguelas [...]. I don't know the masks of the Luxazes, but those of the Bundas and Guenguelas still have faces with less curvature than those of the Luenas, which confirms my opinion, as those ethnic groups are culturally more distant from the Tshokwe than the Luenas. This criterion seems to me to be still valid for evaluating the purity of the form of the Muana Pwó masks themselves". Cf. and vd. bibliography cited by the collector: LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956; and LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisbon: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 156-157, nº 19, where a «Lya Pheu» mask is represented., Dim. - 20 cm

MANUSCRITO.- PONTE DE LIMA.- [Traslado do foral manuelino de Terra de S. Martinho e Burral do Lima].- Século XVII (1624).- [26] f.; 28 cm., Authentic copy of the Manueline charter of Terra de S. Martinho and Burral de Lima (today Beiral do Lima), originally granted on May 1, 1515. The two settlements, located on the left bank of the river Lima, are today part, respectively, of the municipalities of Viana do Castelo and Ponte de Lima. On the front of the first folio, the first three lines bear the following title: «Treslado do foral da Villa de ponte de Lima e seu termo E primeiramente se segue a tauoada delle Tauoada da terra de são martinho e Regemguos dela». This title was added by the notary responsible for the copy and does not appear in the original manuscript of the charter, which is today in the Municipal Archive of Ponte de Lima. At the end of the transfer (fol. 27v), it includes a registration certificate with an autograph signature by the notary Francisco Rebelo de Sá and the signature of a second notary who verified the fidelity of the copy with the original. Paper section, sewn to the thread, with 34 sheets (eight blank); some moisture (tidal) stains and deep wormholes confined to outer margin. Transcription (of the charter) apparently in one hand, in linked cursive Gothic handwriting, fully legible. Certificate dated June 30, 1624., Dim. - 28 cm

A «Mwana Pwo» Mask, wood, fibers, cowries, polychrome traces, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (mid), wear, minor defects, purchased at Sanzala Muanachina, near Luena. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 233, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Mácara Muana Puo»:"Tattoos: - on the cheeks: 2 circles w/ crossed crosshatch -Lumba, nº 30 from the book "Tatuagens da Lunda" by Mesquitela de Lima; 2 tears under each eye «Massoja» [...]; - on the forehead: 2 « Mupila» on each side of the forehead [...]; Cangongo, on the forehead over the nose; - on the chin: «Cangonga» (?). [...] This piece was purchased on 07/12/74, at Sanzala Muanachina, near Luso [Luena], Km 1036 on the right side of the railway, beyond the Benedictine Mission. Its owner was the professional dancer Muanachina Samoroci(?), very well known in the region". Cf. bibliography cited by the collector - LIMA, Mesquitela de - "Tatuagens da Lunda". S/L: Museu de Angola, 1956, p. 35, fig. 30. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo"/"Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Africa, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264? ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 20,5 cm

A «Mwana Pwo» Mask, wood, fibers and metal, mask representing the ideal of female beauty, used by professional dancers in various types of ceremonies, Angolan - Tshokwe, 20th C. (1st quarter), minor defects, from the region of Saurimo, province of Lunda-Sul. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva Fig. 7 in the notes printed "A Escultura Tribal dos Povos Banto" updated version, from 1995, of the work with the title "A Escultura Negro-Africana Vista à Luz da Filosofia Banta", which the author presented in 1971, for the XXII Floral Games of Huambo Town Hall (former Nova Lisboa)- Angola, pp. 13-14. Original work available at https://memoriaafrica.ua.pt/Library/ShowImage.aspx?q=/bchuambo/bchuambo-026&p=10, consulted on March 16, 2023 at 11:16. Item number 4, mentioned in the collector's notebook «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Muana Puo»: "Tattoos: - on the forehead and chin: «Mupila»; - on the cheeks: «Masoji» (tears), «Tubenga» (which is not straight); - on the nose: «Cangongo». - The nasal septum is perforated to be crossed by a stick (mutondu wa zulu), ethnic mutilation that was widely used by the populations of northeastern Angola, but is now in disuse. - Several cross-shaped signs (variants of «mipila»?) all over the face. On the forehead are two brass head studs. [...] Purchased on May 30th. [19]70 to Sanssango Tchiouga, a Tshokwe dancer who represented(?) in the Lumeje region. This dancer lived in the Soba Jamba sanzala (Luena), north of the C. F. Benguela railway line [...]. The mask, his costume and two rattles were kept in a good wooden box with a lid [...]. Purchasing the mask was very difficult because the dancer said that the mask had come from the region of Saurimo (Henrique de Carvalho) and that in Lumeje there was no sculptor who could make another one as beautiful and good [...]. For this reason, after a long conversation, not only with me, but also with his friends, whom he asked for advice, he decided to sell it [...] but when he handed it over, tears came to his eyes, it was a pity to part with it and to have to go without dancing for a while until he found another". According to Marie Louise-Bastin "The name of the mask is Pwo, "Woman", or Mwana Pwo, "Girl". It used to represent a mature woman who had proved her fertility by having a child. More recently, due to changing African values - possibly under European influence - this mask has represented a girl and the hope of having many children. The male masquerade, embodying the female ancestor, guarantees fertility to the spectators during his performance. He has fake breasts and wears cloth draped around his hips and a heavy crescent-shaped belt that bounces up and down as he moves his back. In the past, these gestures were discreet and elegant in order to teach women graceful manners. When ordering a mask, the dancer offered a brass coin, the symbolic price of a bride. Treated as if it were a person, the mask was often buried by the death of the dancer, whose profession generally passed to the nephew. A professional sculptor ('songi') was then tasked with producing a new mask, a process that formerly took several weeks. He worked in the bush, using as a model a woman whose beauty he admired. To that end, he took every opportunity to meet her and observe her features, including her tattoos, hairstyle, and jewelry. For this reason, female masks are often portraits; although they share the fundamental characteristics of all Tshokwe sculpture, each piece varies in subtle ways. The technical mastery of the sculptor, combined with the inspiration caused by the model, explain the great variety of sculptural expression always found in Tshokwe art. The «mukishi wa Pwo» adorns many objects, such as drums, sanzas and knife sheaths. When a female image works as a counterpoint to a representation of the male «Cihongo» mask, reference is also being made to the «Pwo». If the owner of the «Pwo» mask became ill, it was customary to consult a diviner to find out if it was the spirit of the «Pwo» mask that was causing the illness. If the dancer no longer had a mask, he would order a new one and inaugurate it near the «cota», after his wife had sacrificed a chicken over the head of the mask. He would then dance before the assembled village. Finally, there would be a communion meal between the dancer and his wife. The same ritual would be performed in the case of someone who had neglected a mask still in use. The dancer kept the «Pwo» mask usually in the «mutenji» hut outside the village or hidden in a basket in his own house.) cf. BASTIN, Marie-Louise - "Escultura Tshokwe". Porto: Faculdade de Letras da Universidade do Porto, 1999, pp. 102-103. Para o mesmo tipo de máscara vd. REDINHA, José - "Album Etnográfico Portugal-Angola". Luanda: C.I.T.A, 1971, p. 91 (como "Muana-Mpuo"); JORDÁN, Manuel - "Os Tshokwe e Povos Aparentados". In "Na presença dos Espíritos - Arte Africana do Museu Nacional de Etnologia, Lisboa". New York: Museum for African Art, Snoeck-Ducaju, 2000, pp. 100-102, cat. 73-75; BASTIN, Marie-Louise. "La sculpture Tshokwe”. Arcueil: Alain et Françoise Chaffin, 1982, pp. 100-103, figs. 40-45 (como "Masque Pwo/Pwo"); o catálogo "Escultura Angolana - Memorial de Culturas". Lisboa: Museu Nacional de Etnologia - Sociedade Lisboa 94, 1994, pp. 143-144, nºs 162-164; LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 151 e 153, nºs 11-15 (como "Mukixi wa Pwó"); FELIX, Marc Leo. - "100 Peoples of Zaire and Their Sculpture: The Handbook”. Brussels: Zaire Basin Art History Research Foundation, 1987, p. 183, fig. 15; o catálogo do leilão realizado a 1 de Fevereiro de 2023 na Lempertz "Art of Arfrica, the Pacific and the Americas". Brussels: Lempertz, 2023, lote 42; e https://www.metmuseum.org/art/collection/search/319264?ft=Pwo&offset=0&rpp=40&pos=1, consultado a 14 de Março de 2023 às 15:37., Dim. - 19 cm

A «Katoyo» Mask, wood, fibers, mask possibly representative of western man, Angolan - Tshokwe, 20th C. (mid), missing headdress, other faults and defects, many traces of wood insects, carved by the sculptor Savula and purchased in Sandando, Moxico province, in 1971. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 174, mentioned in the notebook of the collector «Angola - Arte Negra, Relação e descrição das peças», identified there as «Katoio»: "Very protruding visor, hollow rectangular eyes, thin nose with nostrils formed by two holes. Long mouth [...] The bridge of the nose is ornamented with a groove along its entire length. [...] Purchased in Sandando , Sanzala on the right side of the railway next to the C.F.B. station) to its sculptor and owner Savula. It was used by the professional dancer Tchikua. The purchase was made on 13.3.71 [...]." For the same type of mask vd. LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 142-143 e 145, nºs 1-3., Dim. - 20 cm

A «Katoyo» Mask, wood, ivory, fiber and fur, mask possibly representative of the western man, Angolan - Tshokwe, 20th C. (mid), traces of wood insects, many faults and defects, Purchased in Cangumbe, Moxico province, in 1965. Notes: Provenance: Collection of Engineer Elísio Romariz dos Santos Silva, item number 54, mentioned in the collector's notebook: «Angola - Arte Negra, Relação e descrição das peças», identified in it as «Máscara Katoyo»: "The open and twisted mouth has 4 protruding teeth [...] that remind the canines of carnivores. The nose is thin and long. Protruding ears and forehead. It has a notch(?) from ear to ear, passing under the The mask has a "facies" twisted to the right (nose and mouth), with the left face being larger and more prominent than the right, which gives it an expression that I believe is mocking [...]. The mask is that of a professional comic dancer, sometimes armed with a rattle (Pusangu) in each hand or with a rattle and a flyswatter (mufuka). Sotimes, he can also bring a belt (muia) to enhance the movement of the hips when dancing [...]. Purchased in Cangumbe [Moxico] in 1965, through the road foreman Fernando Oliveira [...]". For the same type of mask see bibliography referred by the collector: LIMA, Mesquitela de - "Os Akixi (Mascarados) do Nordeste de Angola". In "Diamag - Publicações Culturais nº 70". Lisboa: Companhia de Diamantes de Angola - Serviços Culturais Dundo - Lunda - Angola - Museu do Dundo, 1967, pp. 142-143 e 145, nºs 1-3. This lot is subject to CITES export/import restrictions and is duly certified: nr ????????. Cabral Moncada Leilões warns of the fact that several countries prohibit the import of goods that incorporate materials from protected wild fauna and flora species, including, among others, ivory, coral and turtle. We therefore advise potential buyers to inform themselves in advance about the applicable legislation, in particular the customs regulations in force in the countries concerned., Dim. - 21 cm

Hornby - Lima - Mainline - A collection of unboxed OO gauge items including a class 20 Diesel, a class 31 Diesel, an 0-6-0 tank engine number 581 in LNER livery, an 0-4-0 tank engine number 709 in LSWR livery and similar. They show signs of age and use and appear Fair overall. (This does not constitute a guarantee) [ba]

Hornby - Airfix - Mainline - Lima - A collection of OO gauge locomotives and rolling stock including Royal Scot number 6100, an 0-4-0 Steeple cab, a class 31 diesel and others. They show signs of use, some have been over painted, they appear Fair overall. (This does not constitute a guarantee) [ba]

Tri-ang - Lima - A group of boxed OO gauge Steeple cab loco with operating pantograph # R254, a signal box # R145, a boxed operating mail coach set # R402 and similar other items. They show some signs of age and use and appear in Fair to Good condition. (This does not constitute a guarantee) [ba]

Hornby - Tri-ang - Lima - 6 x unboxed OO gauge locomotives, a 4-6-0 LMS number 5241, Winston Churchill number 34051, a Great Western pannier tank number 2788 and similar others. They show signs of age and use and appear Fair to Good. (This does not constitute a guarantee) [ba]

Hornby, Lima - A boxed Hornby Dublo OO gauge Locomotive and Tender, and a boxed OO gauge Lima carriage - Lot includes a #46231 'Duchess of Atholl' locomotive in dark blue livery. A #D 7063 Lima carriage in dark green livery. Both appear in good condition. Boxes have slight storage wear with minor surface marks to cellophane windows. Boxes have a slight smoke odor. (This does not constitute a guarantee) (M)

Hornby - Tri-ang - Lima - A collection of unboxed OO gauge rolling stock and accessories including a car carrier, a buffet car, a horse box, a BP Chemicals tanker and other items. They show signs of use and appear in Fair to Good condition overall. (This does not constitute a guarantee) [ba]

GROUP OF HORNBY, HORNBY DUBLO & LIMA 'OO' LOCOMOTIVES, COACHES AND WAGONS, including Hornby Flying Scotsman locomotive, Mainline Sir Frank Ree locomotive ETC, 7 x carriages, 11 x wagons, buildings, track, Hornby HM 2000 mains power controller ETCComments: viewing recommended

Lima 0 Gauge BR (SR) green Coaches and other Rolling Stock (22), Brake /2nd (3, one with modified coupling one boxed), First /2nd (9, seven boxed), blue/grey Brake 2nd with modified coupling and Open Trucks (9, five repainted, six with chain coupling), F-E, boxes F (22)

Lima 0 Gauge LMS Class 4F Fowler 0-6-0 Locomotives and Tenders, LMS black 4547 (2, one chassis loose and lacks front buffer, and grubby buffer beam area), LMS maroon 4683, together with unboxed LMS black Tender, G-VG, boxes F-G (4)

Lima 0 Gauge 6572 SNCF blue 67001 Diesel Locomotive, in original box, VG, box G, together with unboxed Continental maroon and grey Grill Express Coach, 6761 Total bogie Tank wagon and 6704 Spatenbrau Munchen Van, both in original boxes and unboxed ESSO bogie Tank wagon, SNCF brown Van and DB yellow ASG Van, F-E, boxes G (6)

Lima 0 Gauge Continental Freight Set, comprising, 6573 Italian FS two tone blue Electric Bo-Bo twin pantograph Locomotive, four freight wagons, oval of track, swing bridge, level crossing and battery controller, 1973-4 Catalogue, in original box, G-VG, box F, lid poor

A Bing 0 Gauge clockwork Locomotive 'project box' (4), containing two 'Apollo' 0-4-0 Locomotives, one in GWR green as No. 3410, appears fitted with Hornby lead wheels, lacks coupling rods and tender, P-F, various damages, the other repainted in LNER green as No. 217, this one fitted with larger B-L wheels and a modified Lima 4F tender, as modified F-G, and a very battered small 0-4-0 locomotive only in LNER green as No. 8851, P, all mechs tested okay but latter has loose wheels (4)

Peco 0 Gauge Track Lima Open Wagons and homemade raised goods siding with coal and refuelling tanks, 6x 36'' lengths 70002-01 track, pair of red Lima 0 Gauge wagons, Goods sidings constructed on polystyrene bases with coal, plastic tanks and trees, one double and three single lengths, all 18'' long, F-VG (12)

Tri-ang 0 Gauge Big Big Locomotives (10), BR blue Hymek Diesel 3D 95, in original condition, modified Hymek with finescale wheels, repainted roof, on/off switch removed and gap filled in and part painted grey, pair of 0-4-0 Tank Engines, one original blue and yellow, other painted green and black, repainted flat truck with Minic Road Roller load and four Lima Private Owners open wagons, F-VG, some lack couplings (10)

Mallard 0 gauge unmade Coach Kit and Lima DEMU Conversion kit, Mallard GWR 57' Auto Coach, in original box and Lima Converta etched brass sides to convert to a DEMU 3-Car Set, E, box G (2)

Four Lima 0 Gauge Coaches repainted GSMR maroon and eggshell blue livery and modified, All 3rd (2), Kitchen Car and All First, all lined and with Corridor Connectors, all with Birmingham, Manchester, Carlisle for Scotland coach boards, generally G, some lining damaged (4)

Lima 0 Gauge Diesel Locomotives, BR green Class 33 D6506 and BR blue 0-4-0 Diesel Shunter D2852

Lima and other makers 0 Gauge Track, 6811 12x Curved Track (3 boxes, all appear unused), unboxed, L/H Point and R/H Points (2), Diamond Crossing, Curves (34), Straights (14), Peco Y Point, Pola-Maxi Curves (3) and Faller e-Train 3833 Crossing , in original box, together with a MacGregor Digimac II Transmitter Type 1200 1200, in base of original box, F-E, boxes F-G (93 pieces of Track + Transmitter)