A fine hand-made pair of bespoke Italian car seats made to fit Maserati 300S,polished aluminium alloy buckets, on adjustable black rails and brackets, with upholstery in blue material and blue leather trim, padded leg roll to front, ribbed padding to base and light padding to back. (2)Footnotes:According to information supplied by the vendor these seats were purchased from a Coy's auction at Blenheim Palace when they offered garage equipment and spares from the estate of the late Hugh Taylor at auction in the 2010's. The seats had originally been commissioned by Hugh Taylor to an exacting specification to fit his Maserati 300S, with his usual attention to detail he had the seats constructed by the company that originally made the seating for Maserati in Italy, using original materials where possible including the upholstery covers. Sadly, the custom-built work was not completed in time for Mr Taylor to see his order come to fruition.This lot is subject to the following lot symbols: â—Šâ—Šâ—Šâ—Š £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com
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A 'Sirene' glass mascot by Rene Lalique, created 1920,engraved 'R.Lalique France No.831' under the base, in clear glass with satin finish, 11cm high, small chip and internal bubble to rear edge of base, some light surface scratches to underside. For further information on this lot please visit Bonhams.com
A four person picnic set by Drew & Co, Leadenhall St, London, 1920s,black Rexine covered case with outer leather straps and handles, nickel plated locks, opening to light olive green lined Rexine interior, the lid housing cutlery, enamel plates and ceramic saucers, the base with matching Minton ceramic cups, Pyrex glass food boxes with sliding metal lids, two wicker covered bottles, two nests of glasses, other containers and condiments, kettle stand, kettle and burner, the case 63 x 38 x 16cm. This lot is subject to the following lot symbols: â—Šâ—Šâ—Šâ—Š £60 + VAT uplift and storage at £12 + VAT per lot per dayFor further information on this lot please visit Bonhams.com
Marc MAET (1955-2000)Drawing 'Appearance Are Nothing Light Desire Structure ratio Death Memory', VII '90, signed in pencil (Study after Pierro Della Francesca)Tekening 'Schijn Zijn Niets Licht Verlangen Structuur ratio Dood Herinnering', VII '90, gesigneerd in potlood (Studie naar Pierro Della Francesca)65.5 x 50.5 cm
George Vincent (1796-1832) - Landscape with figures and cattle, oil on panel, signed with monogram lower right and dated 1831, 36 x 50cm, label verso stating 'Exhibited Norwich Society of Artists 1831'Panel good, no splits.Paint good and stable, no craquelure.Has been lightly cleaned and varnished.UV lamp highlights light varnishing and very minor touching-in only.
A yellow and white metal, sapphire and diamond oval cluster ring, featuring a centre oval sapphire within a border of ten round brilliant cut diamonds, all in bezel settings, sapphire dimensions approx 8 x 6 x 3.25mm, weight estimated as 1.45 carats, diamond dimensions each approx 3.2 x 2.1mm, total weight estimated as 1.30 carats, assessed mounted collectively colour H to I and clarity SI1 to SI2, size R, gross weight 5.4g, stamped and tested as 18ctThe diamonds are round brilliant cut designed to give good light performance.It is difficult to assess their tone due to the restriction of settings.The sapphire is natural and has minor abrasions to the facets commensurate with wear.The ring has been sized at some point.
An 18ct yellow gold, emerald and diamond half hoop eternity ring, comprising three round faceted emeralds alternating with four pairs of round brilliant cut diamonds, all in claw settings, emerald dimensions each approx 4 x 2.7mm, total weight estimated as 0.72 carats, diamond diameters each approx 1.9mm, total weight estimated as 0.16 carats, assessed mounted collectively colour H to I and clarity SI1 to SI2, size O, gross weight 4.5g, hallmarked 18ct, London 1990Some light chips and surface cracks to emeralds.
Robert Weir Allan, Scottish, (1852-1942), The Wind & The Sea, oil on canvas, signed 84cm x 120cmCondition reportThe painting is in generally excellent condition, but is dirty and would significantly with a light professional clean. I could find no obvious tears or major losses to the work. There is a slight scratch to middle left of work above the rocks, Please see further images.
After Agathon Léonard, French (1841-1923), Danseuse à l'Écharpe (Play of the Scarf), 20th century, bronze, wired as a lamp, inscribed A.Leonard, 59cm high.Sometimes called Léonard Agathon van Weydevelt he was a French Art Nouveau sculptor. He regularly exhibited across France, and was made a chevalier of the Légion d'Honneur in 1900. Some of his best-known works are studies of dancers, such as La Cothurne (Tragic Pose from Le Jeu de l'escharpe), modeled in 1895 and cast in 1900. The Play of the Scarf, executed in a characteristic fin-de-siècle manner and rendered originally in gilt, showed a dancer in a flowing gown with a billowing scarf held above her head. This piece was produced in 1897, was inspired by the renowned dancer, Lois Fuller and was displayed as a table centerpiece at the 1900 World's Fair at the Pavillon de Sèvres in Paris. This example is not gilded and may have been cast at a slightly later date. Condition reportThe bronze is re-assuringly heavy! The electrics are working in the saleroom but are not certified. Note the modern screw which has been used to fit I assume a replacement light fitting. The first casts of this famous bronze were gilded and these come to sale from time to time. I was unable to find a comparable bronze with brown patina. While the piece is inscribed, there is no obvious foundry mark. I was hoping Suisse freres were the foundry but cannot confirm that. The work is in generally good condition. It appears to have some age, based on wear to base and overall patination. I am not dating the piece but it appears to pre date 1970. From estate of a Scottish family.Overall and elegant and attractive work of art.
with fluted sides, in fitted red leather-covered casethe case 10.5cm wideThe lighter stamped underneath. There are some scratches and dings to the surface overall. The lighter strikes properly when used but does not light, presumably due to a lack of fluid. There are some scuffs to the case.
shaped oblong and with easel back, the front of the mount with light blue guilloche enamel, with brass easel back, the timepiece with Arabic numerals10cm wideMarked on back with maker's mark and further stamped 'Sterling Silver'. There are no English hallmarks. There is some scratching to the enamel, consistent with age and use. The dial with staining marks in parts and scratches. Movement winding smoothly and in going order.
(calibre 600) manual wound lever movement signed and numbered 19082338, adjusted to two positions, black dial with Arabic luminous numerals, snap-on back stamped inside with maker's mark Omega Watch Co and numbered 14757 61 SC, Omega strap and Omega steel buckle, with Omega service case34mm wideCase with light surface scratches, case back outer edges with minor dents, crown with Omega logo, Omega strap and buckle have been replaced, dial has been totally restored but to a high standard, hand setting correctly and winding smoothly, movement in going order.
(calibre 1342) quartz battery driven movement signed and numbered 43621535, silvered dial with baton markers, date aperture, tonneau shaped case, back cover with sea horse Seamaster emblem and numbered 1342, Omega stainless steel bracelet with a deployant clasp numbered ST.1340.328, with Omega booklet35mm wideCase and bracelet with light surface scratches, dial is clean, movement not tested with a new battery, movement not working.
(calibre 960) manual wound lever movement signed and numbered 38402104, white dial with Arabic numerals, seconds dial, snap-on back stamped inside with maker's mark Omega Watch Co and numbered 121 1740 47mm wideCase with light surface scratches, dial is clean, hand setting correctly and winding smoothly, movement in going order.
An Unusual Gilt Brass and Onyx Strut Timepiece, retailed by Edward & Sons, Glasgow & London, circa 1890, light grey veined onyx case with engraved scroll gilt brass dial surround, rope twisted design outer borders, back strut with retailer's signature, 2-1/2-inch silvered Roman numeral dial, single barrel movement with a platform lever escapement, 21cm highOnyx outer edges with minor chips in parts, brass bezel is discoloured and one dent, dial is discoloured, movement is winding smoothly and in going order, with the original platform escapement.
Howard & Sons Ltd: An Early 20th Century Deep-Seated Armchair, recovered in light grey fabric, with feather-filled squab cushion above a plain seat, on square tapering forelegs with castors, the rear leg stamped and numbered 1965 568365cm by 85cm by 86cmThe frame is structurally sound and the upholstery is good. The front-right leg has a split/repair (as photographed). The chair is still structurally sound.
Shah Savan RunnerNorth West Iran, circa 1910The field with a column of stars enclosed by borders of polychrome stepped flowerheads and wide guard stripes420cm by 95cmBoth ends with fabric strip sewn to reverse. Selvedges complete. Pile fair but some areas of light wear. There are two small areas where fabric has been sewn to the back to support tiny areas of weakness. Cut and shut (reduced in size).#.
Afshar RugSouth East Iran, circa 1920The pale blue abrashed field with three medallions surrounded by tribal devices enclosed by flowerhead borders flanked by barber poles 158cm by 122cmOne end complete, other end with one/two rows of knots missing on outer guard, stripe with tiny reweave, approximately 2 by 2cm in one corner, selvedges complete, pile fair/light wear in some areas, couple of small old repairs
J* Fletcher (19th / 20th century)Pause on the road, country girl and gentleman in conversation at a cottage doorOil on canvas, 75cm by 126cmIn an overall fairly poor state of preservation. Relined which is coming adrift at the outer edges of the original canvas with various losses and abrasions to edges. Canvas is slightly loose in general. Covered in a thick layer of dirt and discoloured varnish. Circular hole to canvas above trees approx centre no more than 3-4mm across. Further loss above and left. Scratch to upper part of canopy of trees, upper left-hand side. Small loss/damage between the two figures at approx knee level roughly 4cm from standing gent. Further essentially vertical area of paint loss below the horse's stomach. behind upper right hand front leg. Further small loss between legs of same grey horse in general. Small losses/scratches to lower stomach of back Chesnut horse and midpoint of back leg. Further losses and scratches within lower right-hand corner in background immediately behind ducks etc. Repair with associated retouching visible by eye above the horse's head within the foliage. Not examed with a UV light, a.f.
Edmund Aubrey Hunt (1855-1922) AmericanFigures in a Middle Eastern street lined with market stallsSigned, watercolour and gouache, 19cm by 28cmTwo evident original pencil edge marks along lower edge. Possibly executed on a tinted paper, however areas of exposed/less worked paper show a deep ochre tone and probably the result of additional staining and discolouration. Some evidence of fairly light bleaching to colour as the blue of the draped cloth left hand side foreground and the red of the turbans worn by the figures immediately right of this would seem reduced as well as the signature etc... Small amount of tiny dark coloured flecks to centre foreground which would appear to be contemporary to execution. No evidence of cockling. Not examined out of the frame. Provenance: Private Collection, North Yorkshire
Robert Hills (1769-1844)Donkey herdsmen and cattle on a wooded country laneSigned and dated 1811, pencil and watercolour, 42.5cm by 31cmEvidence of fairly light time staining to sheet which is visible within the less worked or exposed areas of paint within the sky to upper left hand corner. Some general fading to integrity of pigments. Some possible deterioration to surface lower left hand side edge and corner. No evidence of cockling, not examined out of the frame.
Arthur Longlands Grace (19th century)"Picking a Winner"Signed, inscribed verso, oil on canvas, 69.5cm by 90cm Provenance: Cooling Gallery, London; John Noot, Broadway, July 4th, 1991, for £7,950In an overall good and original state of preservation, light surface dirt and discoloured varnish. Some minor imperfections to extremities and pinhole evident lower right. Possible small amount of retouching or strengthening to some sporadic outlines and definition of timbres to ceiling. The lower part of the legs, the central legs to the gate leg table, a few minor dashes to the boot of the gentleman seated on the far right-hand side, and one or two minor retouches elsewhere. Otherwise in a good and stable state of preservation.
James Webb (1825-1875)The Bass RockSigned and dated (18)72, oil on panel, 22cm by 35cmGlazed. Some relatively light surface dirt and discoloured varnish. There is relatively notable craquelure in an essentially vertical arrangement, mostly contained to the sky and which is slightly more concentrated to the right hand 50%. No losses apparent but one or two areas beginning to look slightly precarious. Paint slightly thin in places, especially upper left hand corner. Nothing to determine under a UV lamp but this may not be conclusive. Otherwise in a stable and presentable state of preservation. Not examined out of the frame.
Follower of George Morland (1763-1804)Rustic at thatched cottage doorBears signature and date 1792, oil on canvas, 42cm by 52cmIn a restored condition. Relined, cleaned and revarnished. Some surface dirt and discoloured varnish now in evidence. Some flattening to original surface as a result of the restoration process. It is likely that the signature and date has been strengthened/added. Little to determine in the way of further retouching/restoration under a UV light but this does not proclude the possibility. Surface dirt and discoloured varnish. Areas of fine stable craquelure. Some minor rubbing/abrasions to edges. In an overall stable state of preservation.
After Sir Alfred Munnings KCVO PRA RI (1878-1959)"Off to Market"Oil on canvas, 59.5cm by 98cmAccording to a biro inscription to top stretcher the painting was cleaned July 30th 1980 by Butchers, Norwich, Norfolk. Retains good surface and impasto. Some light surface dirt and discoloured varnish now in evidence. Slight stretcher shadow and exceptionally minor buckle to upper right hand corner. Otherwise in a broadly good and stable state of preservation.
Attributed to William Powell Frith RA (1819-1909) Lady in a forest Signed, oil on canvas, 33cm dia. (oval) Various patches to reverse of canvas as per image. Small tear to canvas with associated patch to reverse, upper left-hand side (upper right-hand side front). Light surface dirt and discoloured varnish. Slight stretcher sahadow. Areas of fine stable cracquelure. Likely retouching/strengthening to the ladies shoe and darker folds at the lower reaches of the skirt bar left-hand side. Tiny retouches to darker tone within the leaves resting on the foreground, left-hand side. Likely retouches to the shadows running along the pink jacket, right-hand side. Essentially V-shaped patch of retouching within the background immediately above her outstretched right hand arm and wrist approx 2-3cm which is visible by eye. The paint is slightly thin in places most notably under her outstretched right arm possibly the result of an old clean? Small amount to retouching to cracquelure around her knee.
Manner of Simon Pietersz Verelst (1644-1721) DutchStill life of variegated Tulips, Roses, Poppies and raspberries arranged in a glass vase on a stone ledge in a feigned niche oil on canvas, 59.5 by 39.5cmIn an overall good and stable state of preservation. The painting is enclosed to the reverse and is likely of fairly recent age. Some surface dirt and discoloured varnish. Small amount of isolated cracquelure to upper left-hand corner and some stable cracquelure of a more vertical nature within and around the arrangement of flowers in a broadly good and stable state of preservation. Not examined with a UV light.
Oliver Ommaney (b.1954) Harbour scene Signed, inscribed and dated 1986, oil on board, together with a companion example by the same hand depicting a landscape with buildings, 14.5cm by 29cm (2)Harbour Scene - Covered in a layer of dirt and discoloured varnish. The board is slightly loose in the frame and in its dropped down position a fine horizontal line of slight abrasion/gilt? can be seen along approx 75% of the top edge approx.3-4mm from inner gilt slip. Otherwise in a broadly good state of preservation. Landscape with buildings - Covered in a layer of dirt and discoloured varnish. There are a couple of linear horizontal marks approx. 3mm away from the gilt inner slip mostly contained to the top edge left hand side. Otherwise in a broadly good and original state of preservation. Frames in a broadly good state of preservation with the odd light stain to both of the fabric inserts, possibly discoloured glue or adhesive to reverse?
Harold Frank Wallace (1881-1962)Stag and Hind in heather landscapeSigned, gouache, 34cm by 49.5cmIn an overall good state of preservation. Executed on a coloured sheet. some possible light time staining but colours appear bright and true. No evidence of cockling. Not examined out of the frame.
Philip Rickman (1891-1982)Grouse in flight above a burnSigned, watercolour, together with a further watercolour likely by the same hand of Grouse in flight above a Moorland, 37cm by 27cm and 36.5cm by 51.5cm respectively (2)Upright example - general staining to mount. Some less pronounced time staining to sheet which is evident within the less worked areas of the sky in particular. Small-sized flecks of brown-coloured debris trapped between glass and surface mostly to the upper right-hand corner. Colour depth is broadly good but slightly tempered by affirmation staining. Some very slight cockling. Not examined out of the frame. The horizontal example - staining, foxing general poor state of repair to mount. Some time staining to sheet which is more concentrated around the edges of white gouache delineating the white clouds. Cluster of tiny-sized brown specks mostly between the two groups of birds in flight within the widest part of white clouds but not exclusively. Odd tiny brown-coloured fleck of debris elsewhere (mostly contained to mount). Some overall reduction to colour. Mostly a result of time staining with some light fading but colour depth remains reasonable to possibly good.
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534297 Los(e)/Seite