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Vectis Auctions Ltd
Lot 84

Sky Guardians (Witty Wings), Squadron Wings and similar a boxed group of mixed scale military aircraft models to include Squadron Wings 1:48 scale BAe Hawk T.1A, 208 Squadron, RAF Valley 2011, Sky Guardians (Witty Wings) 1:72 scale Eurofighter EF-2000 Typhoon (RAF The 3(F) Squadron 100th Anniversary) and others (see photo). Although not checked for completeness, conditions generally appear Good although models may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair boxes which suffer from creasing, scuffing, crushing, Foxing and old price stickers along with boxes would benefit from a further clean due to storage - see photos. (4)

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Vectis Auctions Ltd
Lot 85

Corgi a boxed Aviation Archive 1/32nd scale AA33903 Supermarine Spitfire MkIIA – P7966, D-B (Wing Commander Douglas Bader). Although not checked for completeness, conditions generally appear Excellent although this model may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair to Good box suffers from creasing, scuffing and crushing with old price sticker along with this box would benefit from a further clean due to storage -see photos. (1)

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Vectis Auctions Ltd
Lot 86

Sky Guardians (Witty Wings) and similar a boxed group of mixed scale military aircraft models to include Sky Guardians (Witty Wings) 1:72 scale P-38 Lightning and others (see photo). Although not checked for completeness, conditions generally appear Good although models may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair boxes which suffer from creasing, scuffing, crushing, Foxing and old price stickers along with boxes would benefit from a further clean due to storage - see photos. (4)

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Vectis Auctions Ltd
Lot 87

Collection Armour and similar a boxed group of mixed scale military aircraft models to include Collection Armour 1:48 scale P51 Mustang and others (see photo). Although not checked for completeness, conditions generally appear Good although models may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair boxes which suffer from creasing, scuffing, crushing, Foxing and old price stickers along with boxes would benefit from a further clean due to storage - see photos. (3)

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Vectis Auctions Ltd
Lot 88

Sky Guardians (Witty Wings), Oxford Diecast and similar a boxed group of mixed scale military aircraft models to include Sky Guardians (Witty Wings) 1:72 scale P-38 Lightning, Oxford Diecast DE Havilland Mosquito FB Mk.IV and others (see photo). Although not checked for completeness, conditions generally appear Good although models may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair boxes which suffer from creasing, scuffing, crushing, Foxing and old price stickers along with boxes would benefit from a further clean due to storage - see photos. (4)

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Vectis Auctions Ltd
Lot 89

Corgi Aviation Archive, a boxed group of 1;72 scale military aircraft models to include AA36010 BAe Hawk T.1A 4 Flying Training School, RAF Valley, 2011 Display Aircraft, AA36006 BAe Hawk T.MK.1A, XX316, RAF, No.4 Flying Training School, No.208 "Shadow" Squadron, RAF Valley 1994 and others (see photo). Although not checked for completeness, conditions generally appear Good although models may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Good boxes with old price stickers along with boxes would benefit from a further clean due to storage - see photos. (4)

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Vectis Auctions Ltd
Lot 9

Conrad, W&T, Fire Brigade Models and similar, a group of White metal and Resin models along with similar including White Metal Kits to include Conrad 1019 American La France Fire Engine - dark red - Mint including inner packing, outer carded picture box, Fire Brigade Models FBM02 White Metal & Resin 1:48 scale AEC Regent Merryweather Pump, W&T 4mm scale White Metal Road Vehicle Kit (Kit No. F2) along with  a Dennis F.1 Fire Engine White Metal Kit in generic box. Conditions all appear Good although not checked for completeness in generally Fair to Good boxes. Please note kits have not been checked. (4)

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Vectis Auctions Ltd
Lot 90

Corgi Aviation Archive, Sky Guardians, HM Hobby Master and similar a boxed group of 1:72 scale military aircraft models to include Sky Guardians Hawker Sea Fury T.20S (Royal Navy WG655), Corgi Aviation Archive AA32706 (Military Air Power Modern Era 1945-1970) Hawker Hunter F6 - Belgian Air Force "Red Devils" Aerobatic Display Team, IF14, HM Hobby Mater HA2613 AV-8B Harrier II Plus GR.9 (Final Flight ZG506) and others (see photo). Although not checked for completeness, conditions generally appear Good although models may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair to Good boxes which suffer from creasing, scuffing, crushing, Foxing and old price stickers along with boxes would benefit from a further clean due to storage - see photos. (6)

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Vectis Auctions Ltd
Lot 92

Easy Model, Magazine Issue Amer.com along with HM Hobby Master, a boxed/Blister group of military Helicopter models comprising of 5X Easy Model boxed 1:72 scale Lynx HAS.2 Helicopters (Winged Ace Series) which appear to be Mint in Good outer window boxes along with 3X magazine issue Amer.com 1:72 scale 1995 Sikorsky MH-53E "Sea Dragon" Helicopters which appear generally to be Excellent in generally Fair to Good outer blister packs (blisters only - no magazines) with all three needing a further clean due to storage. Also to include in this lot carded blister packed HM Hobby Master HS0002 metal stand for 1:32 scale Hobby Master F6F-5 Grumman Hellcat (MINSI III) with inscribed plate "Cdr. David McCampbell, USS Essex, US Navy, 1944" which appears Mint in Good packaging. Duplication. See photos. (9)

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Vectis Auctions Ltd
Lot 93

Corgi a boxed Aviation Archive (Model Zone) 1/32nd scale AA33910 Supermarine Spitfire MkIA R6885, EB-Q, Pilot Officer "Eric Stanley Lock" No.41 Sqn, Catterick, August 1940. Although not checked for completeness, conditions generally appear Excellent and presented in generally Good box -see photos. (1)

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Vectis Auctions Ltd
Lot 94

Corgi a boxed Aviation Archive 1/32nd scale AA33903 Supermarine Spitfire MkIIA – P7966, D-B (Wing Commander Douglas Bader). Although not checked for completeness, conditions generally appear Excellent although this model may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair to Good box suffers from creasing, scuffing and crushing with old price sticker along with this box would benefit from a further clean due to storage -see photos. (1)

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Vectis Auctions Ltd
Lot 95

Corgi a boxed Aviation Archive (Model Zone) 1/32nd scale AA33910 Supermarine Spitfire MkIA R6885, EB-Q, Pilot Officer "Eric Stanley Lock" No.41 Sqn, Catterick, August 1940. Although not checked for completeness, conditions generally appear Excellent and presented in generally Good box -see photos. (1)

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Vectis Auctions Ltd
Lot 96

Franklin Mint Collection Armour 1/48th scale B11F007 B26 Marauder "Flak Bait" - US Air Force - Green. Although not checked for completeness, conditions generally appear Good although this model may have been displayed at some point therefore may have pieces missing, broken off or loose and presented in generally Fair to Good window box which suffers from creasing, scuffing and slight crushing along with this box would benefit from a further clean due to storage -see photos. (1)

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Mitchells
Lot 331

Set of weighing scale weights, spade, fork and hoe

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Lay's Auctioneers
Lot 411

A Worcester blue scale tea cup. Circa 1780, with floral painted panels, together with four assorted tea cups and saucers.The handle of the Worcester cup is restored.The Imari pattern saucer has a hairline, otherwise some gilt rubbing in varying degrees.

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Fieldings Auctioneers
Lot 159

AMENDED DESCRIPTION - A late 19th to early 20th Century Meissen Cabaret set in the manner of Teniers or Kaufmann, the set comprising oval tray with fluted border and integral handles, coffee pot, covered sucrier, cream jug, two split handled cups and one saucer, all hand painted with Watteauesque scenes of figures in period dress to landscape settings within pink scale ground with floral and gilt highlights, underglaze blue crossed sword mark.ADDITIONAL INFORMATION - Please note that this set in not entirely of Meissen porcelain; the tray and the coffee pot are by Potschappel Carl Thieme (Dresden).The pieces that are of Meissen porcelain all carry cancelled crossed swords and in this case mean that they are outside decorated, rather than decorated at the factory.Essentially the pieces were acquired by an independent decorator as blanks and decorated coherently to look like an original set.

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Fieldings Auctioneers
Lot 327

A 1930s Vernier scale, cased, various cased gauges, instruments and a light master metal, in brown leather case. (qty)

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Revere Auctions
Lot 662

George Morrison (Ojibwe, 1919-2000). Gouache paper titled "Mirrored Image" depicting an abstracted layered landscape in rich yellows and oranges with hints of green, 1956. Signed and dated along the lower left; titled along the left margin behind the mat. With a label from The Contemporary Arts Center of the Cincinnati Art Museum affixed to the verso which titles the work as "Autumn Landscape."Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.Although his body of work on horizons didn’t make overt reference to his Ojibwe roots, it instead offers a respectful nod to Ojibwe culture. In creating this body of work, he ushered in a change to expectations imposed on Native artists, offering himself as a catalyst towards breaking the barrier that relegated Native American artists to feel a pressure to center upon subjects that were overtly self-reflective and rooted in identity politics. This effort boosted Moorison into a champion founder of Native American modernism. He taught at colleges like the Rhode Island School of Design and later taught American Indian studies and art at the University of Minnesota. A spotlight in the Minnesota art scene, Morrison’s success stemmed from his eventual grounding in nature and Anishinaabe culture and using that to offer his take on spiritual landscape paintings.Morrison is also well-known for his woodcut collages, large in scale with a look that was either all natural in driftwood or all polished with sanded, sculpted wooden pieces. The collages display horizontally, again with an intent of capturing the shifting movements of the horizon. He altered the medium once more by creating rubbings of his wood collages, further emphasizing patterns created by momentary sights of the horizon and which served to re-invigorate the works with the rawness witnessed in the natural environment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 18 1/2 in x width: 23 1/4 in. Framed; height: 26 1/2 in x width: 31 in. />Condition: There are no losses or restorations. The colors are bold and bright. There is a slight undulation to the sheet throughout. There is a small 1/2 inch vertical tear along the lower center. There is yellowed tape along the center of all edges and all corners; some pieces are missing. Framed under glass; some wear to the frame.

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Revere Auctions
Lot 663

George Morrison (Ojibwe, 1919-2000). Acrylic on canvas on board titled "Dappled Light Shadows (Red Rock Variation: Lake Superior Landscape)" depicting a deep red and purple sunset on Lake Superior, 1993. Signed, dated, and titled along the verso. Housed in a frame custom built by Morrison.Lot Essay:Regarded as the founding figure of Native American modernism and among the top American abstract expressionist painters is George Morrison. Also highly regarded as a master collage artist, he assembled large collages of found driftwood and woodcut in framed, puzzle-like forms. In the 1940s, he was formally trained at the Minneapolis College of Art and in the 1950s at the Art Students League in New York before receiving a Fulbright to study in France. Taking his place as part of the modern art movement in New York in the 1950s after World War II, he was friends with Jackson Pollock and Willem de Kooning, regularly exhibiting with de Kooning, Philip Guston, Hans Hofmann, and Franz Kline. Morrison helped bring the New York Modern Art movement to Minnesota, where he was based and worked with pure form via Abstract Expressionism. Later in his career, in the mid-1970s, Morrison shifted to a new theme and started to really explore his heritage when he and his family built a home with an art studio on the Grand Portage Indian Reservation on Lake Superior, naming it Red Rock.Rather than portraying an overt depiction of identity, Morrison was in the process of exploring his identity so he looked to nature, stating “in this search for my own identity, I seek the power of the rock, the magic of the water, the religion of the tree, the color of the wind and the enigma of the horizon.†Translating nature into paintings was Morrison’s way to navigate learning and absorption, and in turn produce self-expression. His token theme was the horizon, taking on dynamic form as colors or shapes in the eternal motion of nature. His inspiration was provided by Lake Superior, observing and documenting the temporary sight of the revered sky meeting landscape that he beheld in the moment.Although his body of work on horizons didn’t make overt reference to his Ojibwe roots, it instead offers a respectful nod to Ojibwe culture. In creating this body of work, he ushered in a change to expectations imposed on Native artists, offering himself as a catalyst towards breaking the barrier that relegated Native American artists to feel a pressure to center upon subjects that were overtly self-reflective and rooted in identity politics. This effort boosted Moorison into a champion founder of Native American modernism. He taught at colleges like the Rhode Island School of Design and later taught American Indian studies and art at the University of Minnesota. A spotlight in the Minnesota art scene, Morrison’s success stemmed from his eventual grounding in nature and Anishinaabe culture and using that to offer his take on spiritual landscape paintings.Morrison is also well-known for his woodcut collages, large in scale with a look that was either all natural in driftwood or all polished with sanded, sculpted wooden pieces. The collages display horizontally, again with an intent of capturing the shifting movements of the horizon. He altered the medium once more by creating rubbings of his wood collages, further emphasizing patterns created by momentary sights of the horizon and which served to re-invigorate the works with the rawness witnessed in the natural environment.His artworks are spotted today in the collections of the Heard Museum, Philadelphia Museum of Art, and Whitney Museum of American Art, US National Gallery of Art, Minneapolis Institute of Art, and the Walker Art Center. In 1997 he was honored in a ceremony at the White House when his work was included in the Twentieth Century American Sculpture at The White House: Honoring Native Americans exhibition. In 1999 Morrison was honored as inaugural Master Artist in the Eiteljorg Museum of American Indians and Western Art, Indianapolis.Sight; height: 5 in x width: 16 in. Framed; height: 7 1/4 in x width: 18 1/4 in. />Condition: The painting is in excellent condition. There are no losses, restorations, or splits to the board. There are two minute black spots along the upper right of the blue expanse which fluoresce under UV light. Some light wear and adhesive residue along the verso. Very light wear to the frame.

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Bonhams
Lot 9

Zenab Abd El Hamid (Egypt, 1919-2002)Scene from Khan El Khalili mixed media on paper, framedsigned 'Zenab Abd El Hamid' and dated '1970' (lower left), Egyptian Ministry of Culture label on the verso, executed in 197063 x 88cm (24 13/16 x 34 5/8in).Footnotes:Provenance:Property from the Artist's EstateExhibited:Zenab Abdel Hamid, Egyptian Ministry of Culture, 15th October 1990 Zenab Abdel Hamid and Ezzedine Hammouda: The Love of Creativity'Our art school in Cairo, founded in 1908, is two years older than our university, the first professors came from France and Italy. Our most talented graduates used to go abroad. They returned completely absorbed by French Impressionism and other European trends. My generation came into its own in the 50s. Our cultural development went parallel with the revolution of 1952. We refused to follow foreign trends and tried to create something genuine. We tried to conserve part of our cultural tradition, a unique mixture of pharaonic, Christian, Islamic and Muslim elements, without becoming dogmatic about it, without exploiting our heritage the way artisans and commercial artists often do.' When we painted a rose, it was supposed to have the smell of the orient. There is something ritual about oriental art. The lines and colors are clear and all parts are equal in our compositions. There are reasons for the purity of colrs and the definite lines in oriental art. In contrast to the cloudy weather in Europe, reflected in the mixed colors and blurry lines by its painters, the sunlight in the East is strong. The outlines and colors are perfectly clear. You can see for miles in the desert. Gaugin's work changed dramatically after he left Paris for the South Seas.'-Ezzedine Hammouda and Zenab Abdel HamidBonhams are delighted to present works by pioneering artist couple Zenab Abdel Hamid and Ezzedine Hammouda, two prominent Egyptian Modernists who travelled the world after their marriage in 1945, developing their artistic vocabulary in tandem and both making significant contributions to Egyptian Modernism.Depicting a bustling market in Cairo's historic Al Muiz Street, this large-scale painting by Egyptian artist Zenab Abdel Hamid is a striking example of her bold and dynamic style. Painted entirely in multicoloured outlines against a white background, the composition captures the energy and vibrancy of the street, with its winding alleys, ornate facades, and throngs of people.Abdel Hamid's use of vibrant colours and dynamic strokes creates a sense of movement and rhythm throughout the painting, drawing the viewer's eye through the busy scene. The intricate detailing of the architecture and urban scenery adds a sense of depth and texture to the composition, while the absence of solid forms or shadows gives the painting an ethereal, graphic like quality.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 66

Adam Henein (Egypt, 1929-2020)The Cat bronzesigned 'A.HENEIN' and numbered 'VII/IIX', number 7 from an edition of 8, executed in 197335 x 103cm (13 3/4 x 40 9/16in).Footnotes:Provenance:Property from a distinguished private collection, CairoAcquired directly from the Artist by the above circa 1990sBonhams are delighted to present two exquisite sculptures by one of the most prominent Arab sculptors of our time. Adam Henein was born in Cairo in 1929 into a family of metalworkers. In 1953, he graduated from School of Fine Arts, Cairo, he went on to receive a two-year grant to study at the Luxor Atelier. The atelier was established a decade earlier by the notable Egyptian artist and scholar Mohamed Nagi to promote Egyptian art education in school circular. In 1954 and 1956 Henein received the Luxor price for his artistic achievements. Two years later, he received a diploma in advanced practices from the Munich Academy in Germany.In 1971, Adam Henein was invited to participate in an Egyptian contemporary art exhibition in Paris at the Musée Galleria. He spent the next two and half decades, from 1971 to 1996 in Paris pushing his practice through sculpture and painting and continued focusing on ancient Egyptian themes and traditional materials. The early 1970s marked an important evolution in Henein's artistic practice, whilst in Paris he was given the opportunity to be exposed to the work of great western modern sculptors and artists whose freedom of interpretation he found to be deeply inspiring.In the late 1990s, Henein returned to his homeland. He contributed greatly to his Egypt's cultural landscape, particularly in Aswan where he established the city's annual International Sculpture Symposium. Upon his return to Egypt he was also appointed by the Minister of Culture to head the design team involved in the restoration of the Great Sphinx in Giza. Henein was awarded Egypt's State Medal, the State Merit Award, as well as the Mubarak Award in the arts. His works have been exhibited at the Institut du Monde Arabe in Paris, the Metropolitan Museum of Art in New York, The MATHAF in Doha, The ASB Gallery in Munich as well as in London and Rome.Throughout his vast career Henein produced a significant number of large and small-scale sculptures handling a variety of different mediums such as bronze, granite, plaster, limestone and terracotta. In 2014, the Adam Henein Museum opened its door in Cairo's Al-Harraniya district, which is a priceless gift from the artist himself to his native country. The museum is dedicated to the largest collection of Henein's sculptures as well as featuring some of his paintings.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 16

Mohammed Ghani Hikmat (Iraq, 1929-2011)The Family wooden sculpture signed 'Ghani Hikmat' and dated '1964' in Arabic (lower right), executed in 1964171.5 x 46.5cm (67 1/2 x 18 5/16in).Footnotes:Provenance:Property from the private collection, GermanyAcquired directly from the artist by the present owner's family.'The modulation of sculpted lines in my figures, has been one of the focal points of my work for many years; what drew me in particular to the configuration of these forms is the dual appearance of both conflict and interplay between them. The union and fusion of sculpted figures is an integral part of my work and presents us with a constantly changeable relationship between form and meaning'- Mohammed Ghani HikmatThis remarkable wooden sculpture is a true testament to the unique artistic vision of Mohammed Ghani Hikmat. Born in Baghdad, Iraq in 1961, Hikmat has become known for his distinctive stylized approach to sculpture.Executed in an impressive scale, this sculpture portrays a Bedouin family in Hikmat's distinctive stylized manner. Rather than focusing on fine detail, Hikmat uses bold, sweeping curves and outlines to capture the essence of each figure. The result is a powerful and evocative portrayal that emphasizes the emotion and movement of the family.The wood itself is a work of art, with its deep, rich colors and fine-grained texture. Hikmat's skillful use of the medium creates a sense of fluidity and dynamism, adding to the sense of motion and energy in the sculpture.In 1953, Mohammed Ghani Hikmat graduated from the Institute of Fine Art in Baghdad. He then travelled to Rome to train at the Accademia di Belle Arti, graduating in 1959. While in Italy, he also studied metals at the Instituto di Zaka in Florence, specializing in casting bronze. He subsequently taught sculpture at the Baghdad Institute of Fine Art and the College of Architectural Engineering at the University of Baghdad.During his career, Hikmat was a prolific creator and exhibitor, and an active participant in the growing Iraqi art scene. He held several solo shows in Rome, San Remo, London, Beirut, and Baghdad. He also participated in most major national exhibitions in Iraq. He was a member of the Society of the Friends of Art and later the az-Zawiya group headed by Faiq Hassan. Significantly, Hikmat was also an influential member of the Baghdad Group of Modern Art (BGMA).Founded by his teachers and friends, Jewad Selim and Shakir Hassan Al-Said, the BGMA was arguably the most important artist society in modern Iraq and was dedicated to the idea that Iraq's heritage held a preeminent place within its modern art practice.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 53

Salah Taher (Egypt, 1911-2007)The Serpent (Al Thuban) oil on canvas, framedsigned 'Salah Taher' and dated '68' in Arabic (upper right), executed in 1968138 x 95cm (54 5/16 x 37 3/8in).Footnotes:'Taher's choice of a green background might be seen as a conscious nod to the lush surroundings of Eden or even the green often associated with paradise in Islamic iconography.'Provenance:Property from a private collection, LondonAt an impressive scale, this unprecedented piece by Salah Taher delves deeply into abstraction, capturing the viewer's attention with its serpent-like figures set against a vivid green backdrop. The piece immediately evokes comparisons to the serpent in the Garden of Eden, a narrative thread common in Abrahamic traditions, including Islam.In the Quran and broader Muslim culture, the serpent, often identified with Iblis or Satan, plays a pivotal role as the creature that led Adam and Eve astray from God's direct command, marking mankind's initial fall from divine grace. Yet, the representation of the serpent is not just as a symbol of deceit or temptation. In Islamic art and culture, the serpent also comes to represent profound wisdom, change, and the cyclical nature of life and death.Taher's choice of a green background might be seen as a conscious nod to the lush surroundings of Eden or even the green often associated with paradise in Islamic iconography. It also brings forth the dichotomous nature of the serpent – both a tempter and a bearer of wisdom. This artwork masterfully encapsulates this duality, inviting the viewer to reflect on the profound themes of sin, redemption, knowledge, and the human condition.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 68

Saadi Al-Kaabi (Iraq, born 1937)The Horseman (Abstraction No. 1) oil on canvas, framedsigned 'Al-Kaabi' in Arabic (lower right), further signed, titled and inscribed on the verso, executed circa 1960s41 x 25.5cm (16 1/8 x 10 1/16in).Footnotes:Provenance:Property from a private collection, LondonFormerly with The Al-Wasiti Gallery, BaghdadExhibited:Exhibition of Paintings by Saadi al-Kaabi, Al-Wasiti Gallery, 1965, Baghdad, Iraq'Notably, the abstract figures in Al-Kaabi's painting possess a dynamic energy, achieved through the prominence of the outline, lending the painting a bass-relief sculptural quality reminiscent of Assyrian wall reliefs, albeit with a focus on line rather than form'Saadi Al-Kaabi, a renowned artist born in Najaf, Iraq, in 1937, is celebrated for his distinctive artistic style that found its expression in both large-scale canvases and murals. This unique style emerged after years of artistic exploration following his graduation from Baghdad's Institute of Fine Arts in 1960. Driven by a desire to depart from traditional realism and inspired by the guidance of his instructors, Al-Kaabi embarked on a journey of artistic experimentation, gradually shaping his vision to convey the essence of Iraqi identity through his work.The present work is rare and extraordinary, having been exhibited at the artists first solo show in Baghdad's renowned 'Al Wasiti Gallery' in 1965. The painting exemplifies Al-Kaabi's early experimentation and represents the genesis of his 'Desert Period.' In this composition, Al-Kaabi's endeavor to abstract the figure of the horseman is skillfully executed, characterized by a technique that emphasizes incised lines to create a textured outline. The choice of an earthen background tone imparts a harmonious and muted atmosphere. Notably, the abstract figures in Al-Kaabi's painting possess a dynamic energy, achieved through the prominence of the outline, lending the painting a bass-relief sculptural quality reminiscent of Assyrian wall reliefs, albeit with a focus on line rather than form.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 41

Mohamed Melehi (Morocco, 1936-2020)Study for Jeddah Airport gouache on cartonexecuted circa 1980s19.5 x 39cm (7 11/16 x 15 3/8in).Footnotes:The Jeddah Airport CollectionA set of important studies commissioned by King Abdulaziz International Airport in Jeddah from the estate of architect Stelio ScamangaProvenance:Property from a private collection, FranceFormerly in the collection of Stelio Scamanga, commissioned by King Abdulazziz International Airport in Jeddah, circa 1980's'King Abdulaziz International Airport, represents an important stage in the work of the International Airports Projects. The airport is a symbol of the Kingdom's determination to encourage and strengthen the spiritual unity of the pan-Islamic world; besides the fact of being a place where the holy places of Islam can be made more accessible to the Muslims. This determination underlies the scientific and technical elements of the airport, as well as the aesthetic ones, as seen in its architecture and the works of art namely tapestries, sculptures, reliefs mosaics, ceramics and wood carvings: these works are an important part of the airports design. The emphasis on the continuity between the rich heritage of Islamic tradition and modern Arab Culture, was the criteria for the selection of contemporary Arab artists, whose works are included in this collection. These works inspired by the Islamic art of the past, namely the arabesque line and the meticulously worked patterns as well as calligraphy, emphasize the two-dimensionality of the space, and are characterized by a vivid imagination and energy that one recognises as thoroughly modern. Besides the great variety of these works of art, variety of forms and media, national influences and individual expressions, a strong bond unifies them together, that of a shared Islamic traditionThe final result is a museum quality collection that is unique in scope exemplifying dramatically the diversity of talent at work through the Arab world. We hope that this collection will inspire in our visitors a heightened sense for the artistic achievements that have marked Arab culture of many centuries and continue to distinguish it today'.-Kingdom of Saudi Arabia, Ministry of Defence and Civil Aviation, 1980'Jeddah is the gateway to Mecca, the universal centre of Islam... Its airport is therefore the arrival point for millions of pilgrims from all over the world... Jeddah is in fact the beating heart of Arabia ... Therefore is it really logical that the eyes of our visitors from their first steps here, should set upon works by American and European artists...? I think that this airport should rather give pride of place to the works of their Muslim and Arab counterparts...'-Stelio ScamangaThe following four lots comprise an exquisite set of preparatory works commissioned by the Lebanese Greek artist and architect Stelio Scamanga for a major project to acquire and display large scale artworks by prominent Arab artists in Jeddah airport in the 1980's. Stelio Scamanga (1934-2022) was an intrepid Lebanese Greek artist and architect who setup an architectural practise in Jeddah in the late 1970's. He was subsequently appointed to consult on a major project to introduce an art collection to the airport which was initially intended a group of prominent American and European to be selected for the commission. Scamanga was instrumental in the reversal of this course and the decision to seek out influential artists from the Arab world to maintain the Arab and Islamic identity of the airportA group of monumental paintings and tapestries were eventually commissioned and displayed by the airport from some of the most accomplished Arab artists of the time, including Melehi, Azzawi, Shibrain and others. The present set of works comprise initial studies for the eventual artworks, some of which, like the spectacular calligraphic composition by Ahmed Shibrain, can be pictured in the airport to this day.For further information on this lot please visit Bonhams.com

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Bonhams
Lot 133

Statuette en porcelaine de Meissen représentant Arlequin assis jouant de la cornemuse, milieu du XVIIIe siècleA Meissen figure of Harlequin seated playing bagpipes, mid 18th centuryModelled perhaps by J.F. Eberlein after a model by Kaendler, wearing a pale-pink hat with feathers and a green ribbon, a tunic with puce scale-ground panels alternating with yellow, turquoise breeches and red shoes with yellow bows, the rocky base applied with leaves and flowers, 13.9cm high (restoration to hat, hands and instrument)For further information on this lot please visit Bonhams.com

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Mallams
Lot 243

A late Victorian 18ct gold open face pocket watch, the white enamel dial with Roman numerals, outer scale 0-300 and centre seconds hand, to a keyless wind ¾ plate movement, dial and movement signed J. Hargreaves & Co, Liverpool, the case hallmarked for Chester 1892, movement and case numbered 53036, accompanied by a curb-link chain, with swivel clasp stamped '9CT', case diameter 5.2cm, chain length 37.5cm (2)Watch: surface wear and dust residue to dial, light surface wear to glass. Surface wear and scattered dings and dents to case, mostly to case sides. Hallmarks have patchy light wear. Some thinning to top loop. Slight gapping to case cover and back when closed. The movement runs when wound but the pusher, which may operate the centre seconds hand, does not appear to be functioning. Working order of the movement cannot be guaranteed. Gross weight approximately 118.4gm. Chain: general surface wear throughout, clasps are functioning. Metal standard is untested. Gross weight approximately 7.5gm.

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Mallams
Lot 723

An early George III silver tea caddy, of rectangular form, decorated in deep relief in the Chinoiserie style with panels of Chinamen picking tea, and pavilions within borders of c-scrolls, with further lion's mask, paw, flower, shell and scale decoration, the hinged cover with rose and foliate finial, by Daniel Smith & Robert Sharp, London 1762, 15cm high, 17.5oz

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Bamfords Auctioneers & Valuers
Lot 137

A pharmaceutical balance scale, cased,45cm x 37cm x 27cm.

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Bamfords Auctioneers & Valuers
Lot 195

Toys - Tri-ang Minic Rolls Royce Silver Ghost 1:20th scale model; a Penman's pond yacht, Meccano outfit No 5 box with assorted contents, Lego construction bricks, mini figs, Lone star American Wild West figures, assorted farm animals etc

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Bamfords Auctioneers & Valuers
Lot 198

Britain's Toys - rainbow release 1; 32 scale tractor and farm implement set to include Ref. Nos. 9667 Ford tractor and hay baler gift set; others 9617 Ford 5610 tractor and front loader system, 00213 Kverneland Un 7515 bale wrapper, 9587 Fyson Elevator and Bales, 9481 Police Land Rover Discovery, 9544 Accord Seed Drill, 952 Forage Harvester etc, all boxed (10)

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Bamfords Auctioneers & Valuers
Lot 201

Britain's Toys - rainbow release 1/32 scale Land Rover Defender 90, Honda TRX300 4x4 ATV and Logic CT700 Trailer, Nos. 9657 gift set, others 9440 JCB fastrac 1135, 9545 Vaderstad Ev620 Roller, 9453 JCB Skid Steer, 9480 Land Rover Discovery, 9652 Horse box with Horse, 9566 Class tipping silage trailer etc all boxed (10)

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Bamfords Auctioneers & Valuers
Lot 411

Silver & Plate - a pair of silver hollow cast weighted candlesticks, W I Broadway & Co, Birmingham 1970, 18.17ozt gross; another pair brass, assorted silver plated flatware, Sovereign balance scale etc

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Lyon & Turnbull
Lot 463

RARE MEISSEN ANTHROPOMORPHIC PART TEA SERVICE LATE 18TH CENTURY the cups and saucers of wrythen and basket weave moulded form; each piece painted to the centre with a humorous vignette of an animal engaged in various pursuits, such as a cat washing laundry, a fox carrying two baskets containing ducks and eggs, a kitten playing a lute to dancing mice etc.; all within a trellis border issuing sprays of flowers; with purple scale ground decoration to the gilt edged rims; comprising a teapot with matched cover, five saucers and three tea cups; underglaze blue crossed swords marksDimensions:teapot 11.5cm high, saucers 13.5cm diameter, cups 17cm highProvenance:Provenance: Property of the late Mrs. Jean BogieNote: The anthropomorphic scenes on the porcelain in this group relates to a tradition of decoration inspired by characters in fables by writers such as Aesop and La Fontaine, which had been translated into prose by the 18th century in Germany and which would have circulated widely in educated society. The scenes were intended to point out the foibles of humanity and would have been humorous to an 18th century audience, who would have recognised the references to popular fables. The activities of the animals depicted are quite curious and specific and likely relate to a particular fable source. Anthropomorphic services created at Meissen are rare and few are in existence.

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Halls Fine Art Auctioneers
Lot 196

A large collection of UK silver comprising a double Florin, half Crowns, Florins, Shillings, Sixpences, Threepences, from George II to George VI; together with Sovereign scale and a silver circular shaped vesta case (quantity)

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Great Western Auctions
Lot 350

A collection of 19th century theatre posters/playbills, to include large scale examples for the Garrick Theatre and Royal Panarmonion, St. Pancras, others for Shakespearean productions; also including an earlier George III example for the Theatre Royal, Covent Garden, dated 1782 Condition Report:Available upon request

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Dominic Winter Auctions
Lot 106

London. Greenwood (C & J), Map of London from an actual survey made in the years 1824, 1825 & 1826..., Extended and Comprising the various improvements to 1830, Greenwood & Co, 31st August 1830, large scale map engraved by Josiah Neele with contemporary wash colouring and some later enhancement, sectionalised and laid on linen, calligraphic title, inset views of St Pauls and Westminster, reference to the parishes and table of explanation, very slight spotting, 1260 x 1855 mm, later manuscript ownership signature to verso, contemporary sheep with gilt title to upper siding, heavily worn and frayed, spine partially detached, binding size 460 x 395 mm QTY: (1)NOTE:Howgego. Printed Maps of London, number 309, state 2.

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Dominic Winter Auctions
Lot 118

* Sussex. Saxton (Christopher & Kip William), Sussexia sive Southsex olim pars Regnorum [1637], hand-coloured engraved map, re-margined on the vertical borders, some staining, 225 x 390 mm, framed and glazed, together with Norden (John & Hole W.). Hamshire olim pars Belgarum [1637], hand-coloured engraved map, laid on later card, 295 x 320 mm, framed and glazed, with Morden (Robert). Dorset Shire [and] Midlesex [1695 or later], two hand-coloured engraved maps, each approximately 360 x 425 mm, framed and glazed, plus Chapman (John & André Peter). Sheet XIII from their large-scale map of Essex, 1777, engraved map sheet centred on Hatfield, contemporary wash colouring, slight marginal creasing and fraying, 470 x 600 mm, framed and glazed, together with an 18th-century ward plan of the parish of St Martins in the Fields and a 19th-century map of the Orkneys, Shetlands and Hebrides, both framed and glazedQTY: (7)

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Dominic Winter Auctions
Lot 126

Worcestershire. Speed (John), Worcestershire Described, John Sudbury & George Humble [1627], hand-coloured engraved map, an inset town plan of Worcester, large strapwork cartouche, mileage scale and compass rose, occasional marginal tears, some repaired, centrefold partially strengthened on verso, one small hole affecting the printed image, 385 x 510 mm, English text on versoQTY: (1)

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Dominic Winter Auctions
Lot 334

Le Clerc (Jean, publisher). Parterres et compartimens divers pour dresser en plusieurs agreables façons les Jardins des grandes et mediocres Maisons, [Paris]: Jean le Clerc, circa 1600, engraved title and 7 engraved plates of parterre garden designs, some soiling and marginal staining, early ink annotations to versos (one inscription reads: 'Louis Lasnier jardinier demeurant a Crut paroisse de Bery sur Vittiere 1739'), bound with several series of similar engraved designs, including a set of six engraved plates by Antoine Jacquard (of Poitevin, died 1652) of miniature oval designs for watch cases, [Paris], circa 1610-15, several unsigned series of engraved designs including six engraved designs of bouquets of flowers, one decorative floral pattern, four plates of designs for the seasons, four plates of circular designs (trimmed to lower edge of the leaf, touching image), and bound at end seven engraved plates from La Mode des Habits des Femmes, by Michel van Lochom (1601-1647), circa 1620-30, illustrating women's costume and hairstyles (including English, Italian, German, French, and Polish), most plates with old untidy manuscript annotations, and several visual doodles, some soiling, corners creased, light stain to lower margin, contemporary limp vellum, soiled and some wear, oblong 8vo (16 x 20.5 cm)QTY: (1)NOTE:A bound volume of 17th century small-scale French engraved designs, of particular interest for the set of designs for watch cases by Antoine Jacquard. The V & A Museum, London hold examples of the work of this designer; he also published a series of prints of inhabitants of the New World.

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Dominic Winter Auctions
Lot 76

Berkshire. Speed (John), Barkshire Described, John Sudbury & George Humble [1627], hand-coloured engraved map, the upper margin decorated with a panorama of Windsor Castle, some water staining, small holes to the central fold, short split at the base of the central fold, partial adhesion of old backing paper to verso, 380 x 505 mm, English text on verso, together with Blaeu (Johannes). Rutlandia Comitatus Rutland Shire, Amsterdam circa 1645, engraved map with contemporary hand colouring, large decorative cartouche and mileage scale, 380 x 500 mm, French text on verso, with Jansson (Jan). Scotia Regnum, Amsterdam, circa 1650, engraved map with contemporary hand colouring, inset map of the Orkney Islands, slight spotting and staining, some creasing, closed marginal tear crudely repaired on verso and recto, some abrasion to the central fold, 380 x 500 mm, French text on verso, plus Wyld (James). The Crimea, September 26th 1854, lithograph with contemporary outline colouring, inset maps of the Town & Harbour of Sevastopol and of the Black Sea, several marginal closed tears, 485 x 680 mm, and another 36 British and foreign maps, including examples by or after Morden, Archer and Blackie & Son, various sizes and condition QTY: (40)

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Dominic Winter Auctions
Lot 84

Cary (G. & J.). Cary's Improved Map of England and Wales with a considerable portion of Scotland, planned upon a scale of two statute miles to one inch, Drawn from the most Authentic Surveys and Parliamentary Documents, 1832, calligraphic double-page title, index map, 65 (complete as keymap) engraved double-page map sheets, all with contemporary outline colouring, some offsetting and slight spotting throughout, contemporary half morocco, re-backed but retaining original spine, bumped, frayed and worn, folio, binding size 575 x 390 mmQTY: (1)

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Bosleys & Marlows Military Auctioneers
Lot 190

United States Infantry Officer's Summer Pattern Helmetwhite felt, four panel crown with rounded peak and rear brim.  Leather edging.  White metal oak leaf decorated crown mount and plume holder.  Red horsehair plume.  White metal Infantry side mounts securing the white metal, scale chinstrap.  Front badge absent.  Leather and red silk sweatband with maker's stamp.  Minor damage to lining fabric. PAYMENT BY BANK TRANSFER ONLY

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Catherine Southon Auctioneers & Valuers
Lot 345

A gentleman's 1960's Lancia chronograph wristwatchcircular silvered dial with raised silvered Arabic numerals, tachmetre scale, subsidiary seconds dial at 9 and 30 minute chronograph at 3, silvered hands with luminous inserts, manual wind 17 jewel incabloc, cal Venus 188 movement, chromed case, black leather strap braceletdial diameter 33cm. case diameter 36mm.Condition: Winds ticks and runs however no guarantee can be offered as to the full working order. Some rubbing to chrome plaiting on edges of buttons and lugs

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Catherine Southon Auctioneers & Valuers
Lot 346

A gentlemans 1940s ARSA stainless steel chronograph wristwatchcircular silvered dial with luminous Arabic numerals, minute scale, subsidiary seconds dial and 45 minute chronograph, blue steel and tritum hands, Signed ARSA for Auguste Reymond SA, manual wind Landeron 52, 17 jewels movement, leather strap bracelet dial diameter 33mm., case diameter 37mm.,Condition: Winds, ticks and runs, however no guarantee can be offered. Spotting /corrosion to dial. slight rubbing/ staining between 12-1. Caseback engraved with a name

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Catherine Southon Auctioneers & Valuers
Lot 347

A gentleman's 1960s' Edox stainless steel chronograph wristwatchcircular silvered sunburst dial with raised silvered baton hour markers, minute scale and outer tachymetre scale, subsidiary seconds dial at 9 and 45 minute chronograph at 3 and silvered baton hands with luminous inserts, manual wind incabloc 17 jewels, Landeron 248 cal. movement, leather strap bracelet, in an Edox box dial diameter 32mm., case diameter 35mm.Condition: winds ticks and runs however we are unable to offer a guarantee as to the full working order. case in good condition

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Catherine Southon Auctioneers & Valuers
Lot 348

A gentleman's 1960s Oriosa diver's chronograph wristwatch circular black dial with luminous hour baton markers, telemeter scale, subsidiary seconds dial at 9 and 30 minute chronograph with flyback hand at 3, silver baton hands and centre sweep 'flyback' seconds hand, sigedn Oriosa swiss 20 ATM Incabloc 17 Jewels, manual wind Landeron 17 jewel cal 284 movement, bi-rotating bezel, chromed case, associated rubber strap in an Oriosa box with a guarantee dated 1967dial diameter 33m., case diameter 38mm.Condition: Watch winds, ticks and runs however no guarantee can be offered as to the full working order. small impact bruise to crystal at 11 o'clock, this does not reach the surface of the glass. Another similar at 3 o'clock. Some loss / scracthes to enamel on the rotating bezel. Scratches and wear to case

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Catherine Southon Auctioneers & Valuers
Lot 352

A gentleman's Eberhard Aviograf stainless steel Chronograph wristwatch ref.31032circular white dial with luminous Arabic numerals, minute scale, tachymetre scale subsidiary seconds and 30 minute and 12 hour chronograph dials, black hands with luminous inserts, seconds, manual wind Lemania 1873. movement, stainless steel case with signed winding crown, black leather strap bracelet, with swing tag, in a box with booklet and guarantee, outer card box dial diameter 35mm., case diameter 40mm.,Condition: Good condition. winds ticks and runs however no guarantee can be offered as to the full working order.

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Catherine Southon Auctioneers & Valuers
Lot 359

A gentleman Longines stainless steel and goldplated "conquest" quartz wristwatchcircular gold dial with raised gold hour batons, scale with outer Arabic minutes and date aperture at 3 o'clock, gold textured bezel, case back numbered 21336959, bicolour link bracelet with foldover clasp, in a Longines boxdial diameter 28mm., case diameter 32mm.,Condition: untested, but in good condition. would benefit from a clean

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Hansons Auctioneers and Valuers
Lot 25

A mixed lot of nine copper alloy Roman brooches. Various forms including Headstud, Colchester Derivative, Trumpet, Hod Hill. Various conditions and states of completeness. All from the collection of a metal detectorist. See last picture for scale.

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Revere Auctions
Lot 131

Chinese traveling metal scale in a wooden scale box. Scale connected to a wooden rod with string.Length: 16 1/2 in x width: 4 in x depth: 1 1/2 in. />Condition: Please contact us for a detailed condition report. Please note that the lack of a condition statement does not imply perfect condition. Email condition@revereauctions.com with any condition questions.

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Bonhams
Lot 54

ALBUM - WOMEN WRITERS & ARTISTSAlbum of c.100 autograph letters from nineteenth-century women writers and notable artists, from the collection of Lady Maria Theresa Lewis (née Villiers) (1803-1865), the majority to Lady Lewis, some loose, including:Eleanor Butler & Sarah Ponsonby (The 'Ladies of Llangollen'); poet and dramatist Joanna Baillie (putting aside Mr Sotheby's concerns for her pamphlet, 'I am in much greater danger of being neglected than attacked'); Mary Berry (3, to Lady Lewis, on the death of her friend Lady Charlotte Lindsay and making arrangements); Agnes Berry (2, replying to an invitation on behalf of her sister and referring to malicious news concerning Mr Lewis in The Times); poet Elizabeth Carter; Maria Edgeworth; Amelia Opie; Jane Porter (2 with some verses addressed 'To Sir Robert Ker Porter on seeing his Picture of Christ at the Last Supper'); Madame de Stael (cut signature); Ottilie von Goethe (German socialite and daughter-in-law of Johann Wolfgang von Goethe, in English); Lady Caroline Lamb (to Mary Berry, on her mother's escape from a crash, flattering her and giving her a receipt for a headache, on hearing rumours about herself '...when utterly fake it grieves...'); Mary Somerville (2); Fanny Kemble (2); Harriet Martineau, Anne Isabella Noel Byron, wife of Lord Byron (6, making arrangements, talking of a calamity in her family that has cause her to neglect everything else, troubles with Lady Lovelace ('...she just vegetates...'), another fragment talking of Lord Byron ('...He is the best man, I think I may say, that I have ever known, and the more his powers are called forth, the more his character will be generally be appreciated... He is very glad to be released from the proposed voyage to St Petersburg, and will I hope enjoy a little rest on the home station at Portsmouth...'); Caroline Norton ('...I send my 'doggerel' – it amused me to write it...'); Mary Seward (7, including some verses); and others such as George du Maurier; Richard Owen (returning a book); Charles Eastlake; Edwin Landseer (4, regarding the 'Spanish Lady'); David Wilkie; John Hayter (2, with sketches); and much else, some annotations, index titled 'British Artists' on blue paper and sheet of blotting paper at front, c.148 leaves (some blank, some excised), half maroon roan gilt, decorative spine gilt stamped 'Autographs' and 'Authoresses/ Artists/ &c.', worn, 4to (235 x 280mm.), [nineteenth-century]Footnotes:'I SEND MY DOGGEREL – IT AMUSED ME TO WRITE IT': LADY LEWIS' COLLECTION OF WOMEN WRITERS. As well as a wide correspondence, including comments on Lord Byron from his wife, the album also includes a printed notice, dated January 1845: 'M. & A. Berry are happy in the occasion of this new year to offer their sincere thanks to all the numerous body of distinguished friends, affectionate intimates, and entertaining companions, by whose aid and assistance they have passed the last twenty years of their lives... on a much smaller scale, an attempt will still be made to combine octogenarian cheerfulness, with the valued society of such as may be disposed to allow themselves to assist the OLD FIRM'.Provenance: Lady Maria Theresa Lewis (née Villiers) (1803-1865); her son Sir Thomas Villiers Lister (1832-1902); thence by descent.The collection of Lady Maria Theresa Lewis (1803-1865) was initially formed through the amalgamation of two significant collections of letters, royal and political correspondence from the collection of her mother the Hon. Theresa Villiers (1775-1856), and that of her close friend, the writer Mary Berry (1763–1852). Impressed by Lady Lewis' writings, Mary Berry bequeathed her papers to her so that she could edit them for publication, and the three volume Extracts of the Journals and Correspondence of Miss Berry was published in 1865. To this inheritance Lady Lewis subsequently added her own correspondence and collection of autographs gathered through her wide circle of social, political and literary connections entertained at her home, Kent House, St James's. Not seen outside the family until now, the collection is a remarkable survival and tells the story of a family at the heart of English society. An intricate web of connections and alliances is revealed, bringing together the worlds of royalty and politics, the arts and literature. It is also a story of influential women both as collectors and as correspondents: Theresa Villiers as keeper of royal secrets, Mary Berry and her circle of intellectuals, and, importantly, Lady Lewis as collector and salonnière bringing them all together in this extraordinary collection.This lot is subject to the following lot symbols: •• Zero rated for VAT, no VAT will be added to the Hammer Price or the Buyer's Premium.For further information on this lot please visit Bonhams.com

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Capitolium Art
Lot 48

Delightful and complete scale model of the well-known sailing ship ''Soleil Royal'' that belonged to King Louis XIV, also known as the ''Sun King.''

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Burgersdijk & Niermans
Lot 290

JAPAN -- HIROSHIGE. Meisho Edo hyakkei/Hundred Famous Views of Edo/(…). Ota Memorial Museum of Art, Tokyo. Texts by M. Trede & L. Bichler. Hong Kong, (etc.), Taschen, (2007). 294 pp. Lge-fol. Bound Japanese style in limp stab sewn silk paper wrps. In or. silk paper covered box w. simili ivory fasteners. NOTE: Very well produced facsimile of the 'Hundred Famous Views of Edo', scale 1:1, together w. extensive explanatory notes.

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Burgersdijk & Niermans
Lot 382

CHARTS -- "A CHART of Guinea describeing the seacost from Cape de Verde to Cape Bona Esperanca". (Lond.), J. Sellers a.o., (c. 1677). Engr. sea chart of the west coast of Africa w. dec. cartouche & scale of distance. Cont. handcol. 445 x 550 mm. (Laid down on paper, margins yellowed & slightly chipped). -- "A CHART of the Coast of Guinea from Cape de Verd to Cape Bona Esperanca drawn with squares, the side of each square containing 100 English leagues." (Lond), J. Seller, (n.d.). Engr. sea chart of the west coast of Africa w. dec. cartouche. Cont. handcol. 430 x 520 mm (image size). (Laid down on paper, loosening in parts, toning & dusty in the margins, tear in the lower en of the fold, runs c. 2 cm into the image). -- (2). NOTE: Rare charts from John Seller's 'The English Pilot' (1671-1677).

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Burgersdijk & Niermans
Lot 387

EASTERN EUROPE -- POLAND -- "ESTATS DE LA COURONNE DE POLOGNE Subdivisés suivant l'estendue des Palatinats". (Par.), N. Sanson, 1708. Engr. map by H. Jaillot, cold. in outlines, with title cartouche and scale of miles in second cartouche. 470 x 650 mm. (In v.g. condition, but upper outer left corner torn off (corner however present and provisionally fixed again on v°)).

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Burgersdijk & Niermans
Lot 427

LOW COUNTRIES -- "DUCATUS BRABANTIÆ Nova Tabula (…)". Nuremberg, J.B. Homann, n.d. (c. 1720). Engr. map in cont. colouring. 585 x 500 mm. (Small split on central horizontal fold, but without loss of image). -- Added: "DIŒCESIS EPISCOPATUS ANVERPIENSIS". (Antwerp, P. Verbiest, n.d. (c. 1680)). Engr. map w. scale indicator and cartouches. 330 x 388 mm. -- "BRABANTIA, Gulick et Cleve". (Duisburg, Mercator, n.d. (c. 1600)). Engr. map in cont. colouring. 343 x 460 mm. (A bit browned/traces of former framing). -- And 7 o. (more or less the same area). (9).

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Burgersdijk & Niermans
Lot 429

LOW COUNTRIES -- GELDERLAND -- "DUCATUS GELDRIÆ et Comitatus Zutphaniæ, tabula". Amst., F. de Wit, n.d. (c. 1690). Engr. map in cont. colouring. 470 x 552 mm. (Traces of previous framing visible on v° along borders).Vredenberg-Alink 43b ("Zonder de naam van A. Deur"). -- "DUCATUS GELDRIÆ et Zutphaniæ Comitatus". (Amst.), P. Schenck, n.d. (c. 1738). Engr. map in cont. colouring w. cartouche and scale indicator. 465 x 565 mm. (Multi-folded, but in v.g. condition). Vredenberg-Alink 41c. -- And 2 similar. (4).

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Burgersdijk & Niermans
Lot 445

LOW COUNTRIES -- "NOVISSIMA ET ACCURATISSIMA XVII Provinciarum Germaniæ Inferioris Delineatio". (Amst.), N. Visscher, n.d. (between 1682-1685). Fine cold. engr. map by A. Deur w. 2 fine large cartouches, compass rose and scale indicator. 470 x 565 mm. (Sheet 520 x 623 mm.). (Strengthened on v° fol., some marg. stains). -- "TAFEL VANDE XVII NEDERLANDZE PROVINCIEN, Vertonende der zelver verdeling, grootte van Landen en Steden, Mids-gaders haar Regering, zo Politicq als Kerkelijk, en veel andere merkweerdige zaken, (…)". Amst., P. Schenk, 1707. Largely inscribed etched plate w. cold. inset map of the Netherlands w. contours of a 'Leo Belgicus', cold. distance table, and 26 nicely cold. coats of arms. 490 x 587 mm. (Some marg. stains, green colouring is browned). -- (2). NOTE: Ad 1: Van der Heijden 126 (second state).

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Burgersdijk & Niermans
Lot 454

LOW COUNTRIES -- "WALACHRIA". (Amst., Blaeu, 1662). Engr. handcold. map w. cartouche and scale indicator. 440 x 550 mm. Latin text on v°. (Margins a bit foxed). -- "ULTRAIECTUM DOMINIUM". (Amst.), Blaeu, (1643). Engr. handcold. map. 390 x 516 mm. French text on v°. (Left & right margin faintly stained). -- "TRANSISELANIA DOMINIUM vernaculè Over-Yssel". Amst., Blaeu, (1640-43). Engr. handcold. map. 419 x 523 mm. French text on v°. (Browned/foxed). -- "COMITATUS ZUTPHANIÆ et Fluminis Isulæ (…)". Amst., F. de Wit, c. (1680). Engr. handcold. map. w. cartouche in lower right corner. 495 x 570 mm. (Laid down on Japanese paper, remnants of hinges in upper corners). -- (4). NOTE: Ad 1-3: Van der Krogt, 3610:2, 3660:2, 3800:2A.

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