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Los 595
A 1984 Rolex Oyster Perpetual ref. 16014 DateJust automatic wristwatch, the purple dial with baton indices and date aperture, with fluted 18ct white gold bezel, and stainless Jubilee bracelet. Serial number 8393850. 34 mm case.Condition report: Overall good working order, winds sets and runs correctly. Various minor light marks and fine scratches from usage, but generally in excellent condition, some stretching to the bracelet, likely polished during a service as most surfaces appear very clean and crisp - a lovely watch.
Los 70DK
Make & Model: Mini Roadster CooperDate of Reg: AO64 BLVColour: Blackcc: 1598MoT: 07-10-2022Fuel Type: PETROLMileage: 49kTransmission: MANUALSummary: Three registered keepers. £3825 of extras including CHILI pack, media pack, Mini yours soda sport leather steering wheel and 16' 6-star twin spoke light alloy wheels in black.Vehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=150444
Los 27D
Make & Model: BMW 530d M Sport ADate of Reg: YA08 NGXColour: Blackcc: 2993MoT: 21-06-2022Fuel Type: DIESELMileage: 102kTransmission: AUTOSummary: Five stamps of service including PDI plus one handwritten entry. £8790 of extras including navigation system - professional, M light alloy wheels double spoke, Dakota leather and heated front seats. Two keys (not tested)Sold with an after sales test driveVehicle Check Sheet: https://angliacarauctions.co.uk/umbraco/surface/auction/GetVehicleCheckSheet?id=150407
Los 501
LEWIS GILBERT – A LARGE COLLECTION OF DIRECTOR’ SCRIPTS AND RELATED MATERIAL 1947 - 2002 (QTY)-TheLittle Ballerina, 1947: 39 black and white stills comprising 16 vintagestills, two of which feature Margot Fonteyn and 23 later prints, seven of whichfeature Fonteyn, in original brown paper envelope, with typescript `NationalFilm Theatre Programme Notes’, 1p., and a small quantity of related material;-ManWith A Gun, circa 1940s [?]: an original typescript screenplay treatment byVernon Harris based on a story by Alan Stranks, 24 pp, and a few pages ofunidentified script;-ScarletThread, 1951: a mimeograph typescript film script in blue paper covers witha few annotations; and a small quantity of related production paperwork;-JohnnyOn The Run, 1953: an original typescript ‘Shooting Script’ dated June 1952,77 pp with a few annotations in Gilbert’s hand, the card cover dated on thefront 1 August 1952 with Gilbert’s name inscribed top right in pencil in anunidentified hand, the film was made for The Children’s Film Foundation;-CoshBoy / Black Jack Hoodlums [U.S. title The Slasher], 1953:a British half-sheet cinema poster with the UK title Cosh Boy paintedover with the U.S. title Black Jack Hoodlums, this poster used forcinemas in Canada – 55 x 72cm., a U.K. Campaign Book for Cosh Boy and a correspondingblack and white still featuring a teenage Joan Collins - 25.4 x 20.3cm;-TheGood Die Young, 1954: a Belgian poster and an acetate recording of the filmsoundtrack;-FerryTo Hong Kong, 1959: a mimeograph typescript film script in red card covers,heavily annotated in Gilbert’s hand bound in red card covers, a scrapbook ofpress cuttings, a Gala World Premiere Programme; and a small quantity ofrelated material;-LightUp The Sky, 1960: a mimeograph typescript ‘Draft Screenplay’ titled TouchIt Light the working title for Light Up The Sky with a fewannotations in Gilbert’s hand; a printed ‘Information Folder’ booklet for theproduction, a scrapbook of press clippings, and a 10-inch acetate Touch ItLight Version 1 / Touch It Light Version 2;-TheAdventurers, 1970: a mimeograph typescript film script dated 22 July 1968with a few annotations in Gilbert’s hand, bound in black hard covers withGilbert’s name and the film’s title on the cover; a slim file of productionpaperwork, an acetate recording of the soundtrack, an extra-large scrapbook ofpress clippings and related material; -Friends,1971: a large file of paperwork and correspondence relating to theproduction including financial statements and photocopies of agreements, aJapanese double-panel cinema poster, the top half of a Japanese double-panelposter, a British quad poster, a British double crown poster and two large photocopiesof other cinema posters, a collection of press clippings and related material – the sound track for this film is by Elton John, whowas suggested to Gilbert by his son John Gilbert, Lewis had listened to Elton’seponymous LP released in April 1970 and knew that he would be the perfectperson to do the sound track;-PaulAnd Michelle, 1974: five mimeograph typescript film scripts: one an undated‘1st Draft Screenplay’, unannotated, one dated 25 November 1969 withthe working title Young And Lonely, two with the working title TheIntimate Game, both dated 31 March 1970, and Gilbert’s annotated shootingscript bound in hard covers, with his name on the front, and related material;-OperationDaybreak, 1975: three mimeograph typescript film scripts, all with theworking title 7 Men At Daybreak, dated 23 December 1973, 1 September1974 and 19 September 1974, two black and white stills, a quantity of press clippingsand related material;-7Nights In Japan, 1976: four mimeograph typescript film scripts, two datedMarch and June 1975, unannotated in red card covers, and two dated 18 June1975, one heavily annotated in Gilbert’s hand with pink script revision pagesinserted, the other with Gilbert’s name inside, also annotated, both with bluecovers, and a small quantity of related material;-NotQuite Jerusalem / Not Quite Paradise, 1985: four mimeographtypescript film scripts, two dated September and December 1983, unannotated indark blue and red covers, and two dated February and March 1984, with a fewannotations, in pale blue and yellow covers, a page of script notes inGilbert’s hand, a photo album and a slim file of press cuttings and productionpaperwork;-SteppingOut, 1991: two mimeograph typescript film scripts comprising a ‘1stDraft Script’ dated 19 January 1990 in blue hard covers, and a ‘3rdDraft Script’ dated 2 February 1990 in illustrated paper covers, both unannotated; a black and white photographof the cast signed in black felt pen by Liza Minnelli, Julie Walters and sevenothers – 28 x 35 cm.; a file of production paperwork and correspondence, ascrap book containing press cuttings and correspondence, 35 colour photographstaken at the Royal Gala Premiere, subjects include: Diana, Princess of Wales withLewis Gilbert (6), and with Gilbert and Liza Minnelli (1), and with othersubjects (9), Lewis Gilbert and family (6), Michael Caine with Bruce Forsyth(1), Michael Winner with Jenny Seagrove (1) and one other, all – 25.4 x 20.3 cm., and 11 corresponding black andwhite contact sheets, all 51 x 41 cm. (rolled); a folder of photographscomprising: 128 stills, the majority black and white, subjects include Gilbertwith Liza Minnelli, Julie Walters and others (50 plus, six in colour); Liza Minnelliwith others (24), Liza Minnelli on her own (24) and other cast members (24),seven colour slides in Paramount card mounts of Gilbert on location, andapproximately 77 colour snapshots of Gilbert and others taken on location andelsewhere, and related material;-Haunted,1995: three mimeograph typescript film scripts comprising two revised scriptsand a shooting script, all unannotated, an album of location photos, a file ofproduction paperwork, and related material;-UnmadeProduction – an original typescript treatment for an unmade project, unbound ina card folder inscribed in an unidentified hand, “Josephine Baker” / DianaRoss wanted Lewis to do this. They met. – Gilbert recalls in hisautobiography that he met Ross the day after the BAFTA ceremony in 1990 atwhich she had presented him with an award. Ross wanted him to make a biopic ofJosephine Baker, but the project failed to materialise;-BeforeYou Go, 2001 [working title: Memory Of Water]: five mimeographtypescript film scripts including Gilbert’s Shooting Script, revised 11 June2001, with a few annotations, bound in blue hard covers, and an Isle of ManFilm Commission Locations booklet;-JamesBond Publications, comprising: The James Bond Archives, ed. Paul Duncan,Taschen, 2012, with original strip of Dr.No 35 mm film attached inside,a mimeograph typescript film script for GoldenEye, in red covers,unannotated, dated 28 November 1994, 143 pp including pink script revisionpages, James Bond Movie Posters The Official 007 Collection, TonyNourmand, Boxtree, 2001, Some Kind Of Hero – The Remarkable Story Of TheJames Bond Films, Matthew Field and Ajay Chowdhury, History Press, 2015,signed on the title page in black felt pen by the authors, and three otherpublications.PhotographsSold Without CopyrightBellmans isgrateful to Wallace and Hodgson for their assistance with cataloguing theLewis Gilbert Film Script and Production Archive.
Los 502
‘THE SEA SHALL NOT HAVE THEM’, 1954 & ‘H.M.S. DEFIANT’, 1962 – DIRECTOR’S SCRIPTS AND RELATED MATERIAL FOR TWO FILMS (QTY) Comprising:-TheSea Shall Not Have Them, 1954: the director’s shooting script, 114 pp. ofmimeograph typescript bound in brown card covers, the front cover with whitepaper label with the film’s title in typescript, annotated in pencil in anunknown hand 16A, annotated throughout in at least two different hands,one of which is the director’s, in either ballpoint or pencil; with threemimeograph typescript Call Sheets: 20 May, 1 June and 2 June, 1954, similarlyannotated, a black and white front of house still and a press still, both 20.5x 25.6cm.; and-‘H.M.S.Defiant’, 1954: the director’s ‘Shooting Script’ titled The Mutineers,the working title for H.M.S. Defiant [The Mutineers is the nameof the novel by Frank Tillsey upon which Nigel Kneale based his screenplay],160 pp. of mimeograph typescript bound in yellow card covers, the frontinscribed in an unknown hand 15 LEWIS GILBERT, approximately 20 pagesannotated by Gilbert, majority in blue ballpoint pen, with a small piece of looseblue notepaper inserted on p.118 with various notes in the director’s hand; anoriginal typescript ‘Script Supplement’ 2 pp., with corresponding carbon copy; aphotograph album, the cover labelled The Making of the Defiant with LordBrabourne in Denia Spain…containing 75 colour and black and whitephotographs taken during the film shoot, various subjects include Lewis andHylda relaxing off set with family, cast and crew; the ‘Defiant’ at port and atsea, including Lord Mountbatten on board; nine black and white stills, fourfeaturing ‘The Defiant’, one featuring Alec Guinness in costume in conversationwith Lewis and Hylda Gilbert, majority – 20 x 25 cm.; a scrapbook ofphotographs, press clippings and related material including Gilbert’s ticket tothe World Premiere, 22 February, 1962 stuck to the inside cover; 13 ‘Good Luck’telegrams (four stapled into a presentation booklet) all dated 22 February1962, including one from Alec Guinness; and 20 photographs including 17 colourand black and white shots, some press, some private, of the dinner held tocelebrate the release of the film, 13 shots featuring the Mountbatten’s; and ahandmade display painted on card Congratulations to LEWIS GILBERT on thePremiere of his Twenty-First Production “H.M.S. DEFIANT” – 28 x 33 cm. (a lot)PhotographsSold Without CopyrightConditionReport: TheSea Shall Not Have Them: covers creased, folds and tears to some of the pagescommensurate with use and age, the last page detached from the rest; the callsheets are in poor condition, two of them with paper loss to the right side,all with creasing and tears; front of house still has tear to top of middleedge, light creases to corners and old glue residue to verso; publicity stillhas black paper stuck to top edge of verso and two small areas of paper loss tothe middle of the frontH.M.S.Defiant: overall good, covers slightly grubby, left front corner creased; twoof the stills with creased corners.Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Los 512
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, the verso with handwritten label attached inscribed in anunknown hand Martin Godwin / Guardian Picture Desk…[see also Lot 520] -29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,some light surface wear; overall very goodBellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Los 520
JAMES BOND, ‘THE SPY WHO LOVED ME’, 1977 – PHOTOGRAPHAlarge black and white portrait photograph of Lewis Gilbert on the set of TheSpy Who Loved Me, uncredited but taken by Martin Godwin from the GuardianPicture Desk [see Lot 512] - 29.2 x 36.8 cm. The famous set Gilbert is pictured on was known as the “Jonah Set” built specifically for The Spy Who Loved Me to house Ken Adam’s astonishing design for the interior of the villain, Karl Stromberg’s, super tanker the Liparus. It was the largest soundstage and studio water tank in the world. Adam’s shimmering set contained three five-eighths-scale nuclear attack submarines, seen behind Gilbert in the photograph; also, an armoured control room, catwalks, a monorail, assembly and weapons rooms. $1 million dollars of the film’s $13.5 million budget was spent on building this set which became one of the most celebrated motion picture interiors of all time.Sold Without CopyrightConditionReport: Some light rubbing to edges and corners,crease to lower left corner appox. 14 cm. long; two smaller creases to topedge; small tear to lower edge approx.. 1 cm. long; overall good. Footnote: The Spy Who Loved Me (1977), the tenth in the Eon Productions official 007series, initiated a number of records for the James Bond franchise. It wasCubby Broccoli’s first solo 007 venture without co-producer Harry Saltzman, andhe was determined that it should become the biggest and best Bond yet. From the outset, the film’s path to successwas beset with numerous difficulties and the screenplay itself went throughmore adaptations and revisions than any production during the 40-year historyof 007 on screen. Problems began with Ian Fleming’s source material for thefilm’s title. Like the movie, it was Fleming’s tenth Bond novel in order,however it represented a departure from Fleming’s usual 007 format in that itis told from the viewpoint of a young Englishwoman who only meets the famousspy in the last few chapters of the book. For this reason, Fleming never wantedthis book to be sold as a film project. His estate, however, gave Broccolipermission to use the novel’s title only. The book and film do also share onesignificant common element – Jaws, whois loosely based on Fleming’s villain, `Horror’, who had steel-capped teeth.Nevertheless, the screenplay for The Spy Who Loved Me is considered tobe the first Bond film whose story is completely original. After a visit toRussia, Broccoli devised a plot for a new story which suited the film’s title and focused on a beautifulRussian agent who falls in love with James Bond. It is said that twelve different screenwriters worked on fifteen separate drafts for the screenplay over a period of three years, in one of the most fiendishly complicated film pre-production processes in Eon’s history. Considering the quantity of different variants of the screenplay here in Lewis Gilbert’s personal film script archive, it appears that just over half of the fifteen screenplay versions are represented between lots 13-18.Looking through the different variations of treatments and screenplays for The Spy Who Loved Me, a large proportion of which are represented in this collection, in the words of film historian Steven Jay Rubin they : “…offer a textbook look at script development…the material is priceless, since it allows the reader to see how typical Bondian situations are workshopped…” Literature:RUBIN, Steven Jay Spy Who Loved Me Script Wars in The James Bond Movie Encyclopaedia, Chicago Review Press Incorp. Chicago, 2021GILBERT, Lewis All My Flashbacks The Autobiography of Lewis Gilbert, Sixty Years A Film Director, Reynolds & Hearn, London, 2010FIELD, Matthew & CHOWDHURY, Ajay Some Kind Of Hero, The Remarkable Story of The James Bond Films, Cheltenham Glouc., 2015The Spy Who Loved Me Script History www.M16-HQ.comwww.IMDB.com Bellmans is grateful to Wallace and Hodgson for their assistance with cataloguing the Lewis Gilbert Film Script and Production Archive.
Los 36
Marcos Grigorian (Iran, 1925-2007)Convergence earth, resin, straw and mixed media on panelsigned, titled and dated on the verso, executed in 1981115 x 116cm (45 1/4 x 45 11/16in).Footnotes:MARCOS GRIGORIAN – UNEARTHED: AN IMPORTANT GROUP OF COMPOSITIONS INCLUDING THE EXCEPTIONAL 1981 EARTHWORK 'CONVERGENCE'Provenance:Property from a private collection, Los AngelesOriginally in the collection of the Armenian sculptor Rafael Petrosyan (1937-)Exhibited:Marcos Grigorian, Gorky Gallery, 1981, New York'Surely not in vainMy substance of the common Earth was takenAnd to this Figure moulded... to be broke,Or trampled back to shapeless Earth again?'- Omar Khayyam'Perhaps I was homesick for the native soil of Iran, or maybe it was just the opposite – a reaction to being obsessed with my past' - Marcos GrigorianBonhams is delighted to present this superlative group of works by pioneering Iranian Armenian artist Marcos Grigorian. Ranging from one of the most monumental, exquisitely rendered, and technically complex examples of his signature Earthworks, to rare painted compositions formerly in the collection of the artists uncle and gallery-owner, the present grouping provides a comprehensive and compelling accounts of Grigorian's oeuvre.'Convergence' is part of Grigorian's acclaimed Earthworks Series. Earthworks were inspired by the use of materials and forms that went beyond the conventional means of art-making. Compared to the Western Land Artists, who similarly created compositions through the handling of earth itself, Grigorian predated this movement by a decade.Born to Armenian parents in 1925, Grigorian was brought up in Russia for a short time before emigrating to Iran with his family at the age of five. After studying at Kamal-el-Molk Art School in Tehran, he moved to Rome to complete his studies at the Academia di Bella Arti in the 1950s. His move to Rome allowed him to study the works of classical and modern masters and was a turning point in his career. His subsequent moves to Iran and then to the United States in the later years of his career were to be equally influential to his artistic development. His early abstract style was supplanted by expressionist figurative compositions on his return to Iran in 1954. In 1962 he moved to New York where he began his most famous Earthworks Series.These works are mostly on a square format, which became something of a signature for Grigorian. The square form was a representation of sacred geometry and harmonious proportions. The organic materials such as hay, straw, sand, soil and clay which he used to create his almost three-dimensional compositions were to be equally defining.In experimenting with soil and mud, he believed he was rebuilding life and exploring the complex relationship between mankind and earth. The present work is reminiscent of the commonly held theory that the Earth and the other planets developed over millions of years out of particles and gas. The traces of a convergent movement towards the centre of the canvas evoke the image of the universe forming out of primordial dust - and the monochrome earthy surface impress upon the viewer the feeling of a distant aerial view from space. The textured surface and the play between light and shadow endow the painting with an even more dramatic effect, adding to its three-dimensionality.In 1965, The Museum of Modern Art, New York acquired a work from Grigorian's Earthworks Series on the recommendation of Alfred H. Barr Jr., the legendary former director of the museum. A second work was then donated to the museum by Nelson Rockefeller in 1978. Further examples of Grigorian's works were recently acquired by the Metropolitan Museum of Art in New York and can also be found in the collections of Tehran's Museum of Contemporary Art and the National Gallery of Armenia in Yerevan.Besides being a leading figure in avant-garde Iranian and Armenian art history, Grigorian was an artist, writer, gallerist, collector, pioneer and a teacher. From his Gallery Esthétique in 1950s Tehran, which provided a free exhibition space for younger artists, to his pioneering decision to organise the first national Tehran Biennial in 1958 (after he was awarded the honour of representing Iran in the 1956 Venice Biennial) Grigorian desired to make an impact on the development of art.He was instrumental in the introduction and promotion of modern art in Iran in the 1950s and extensively promoted the works of Armenian artists in the United States in the 1980s. Despite travelling around the world, Grigorian chose to return to his ancestral home of Armenia for the remainder of his life and donated his complete collection to the Armenian government as a sign of his lifelong commitment to his nation.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
Los 13
Jewad Selim (Iraq, 1919-1961)The Cream Sellers hammered copperexecuted in 195629 x 19.5cm (11 7/16 x 7 11/16in).Footnotes:Provenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist,thence by descent to the present ownersExhibited:Fourth exhibition of the Baghdad Modern Art group, April 13 - 19, 1956, Institute of Fine Art, BaghdadPublished:Abbas El-Saraf, Jewad Selim, Baghdad, 1972Jabra Ibrahim Jabra, 'Jawad Salim wa Nasab al-Hurriyya,' Baghdad Ministry of Information, 1974THE CURD SELLERS – THE ONLY RECORDED SCULPTURE IN COPPER RELIEF BY JEWAD SELIM'My heaviest burden is to decide how to divide my energy between painting and sculpture. I think that someday I must give up one of them because my creative ability is split between the two. I am thinking of giving up painting for good.''- Jewad Selim'The Curd Sellers is the only known version of Jewad's sculptures done in the 'hammered copper' technique. What is particularly significant here is that 'hammered copper' was an ancient technique perfected by the Mesopotamians' – Zaineb Selim, the artists daughterAn artist of incredible versatility, Jewad Selim excelled in painting, drawing, sculpture and craftsmanship. Despite turning his hand primarily to sculpture for the latter part of his career, owing to the scarcity of foundries in his native Iraq, he executed his works almost exclusively in wood and plaster; the appearance therefore, of an exquisite, widely published work in metal relief, unique amongst his body of work, provides a single opportunity for a collector to acquire an example of the artist's work which is unmatched in its rarity and importance. One of the main themes that Selim's Baghdad Group of Modern Art focused on, was peasants and Bedouins in different settings; such as the mudhif (guest house), the coffee house, as well as various roles including water carriers, bakers, farmers and so on. The role depicted in this relief is that of the women who sell buffalo curd at dawn in Baghdad, locally termed as العلابات (El-Allabat – translated as the Packers referring to the packs of buffalo curd stacked on their heads or on the ground beside them). Semi-abstracted into interlocking rounded forms articulated by Selim's signature crescent motif, Selim provides a modern interpretation of an ancient and highly acclaimed craft. The Middle East, as one of the foremost centres of metalwork in antiquity was home to some of the most sumptuous and lavish examples of this craft, with standout examples including the magnificent royal Sassanian silver dishes decorated in high relief.In place of the kingly, high flown mythological subject matters of ancient metalwork, Selim brings his focus back onto the common plight of the noble Iraqi peasants and their daily toil, a cunning subversion of what was once seen as a 'courtly craft' in the hands of an artist using it to shine a light on the everyday life of his native people.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
Los 35
Sohrab Sepehri (Iran, 1928-1980)Untitled (From the Tree Series) oil on canvas, framedsigned in Farsi (lower right), signed and dated '1967' on the verso, executed in 1967155 x 100cm (61 x 39 3/8in).Footnotes:A RARE AND MONUMENTAL 1967 TREE COMPOSITION BY SOHRAB SEPEHRI FROM THE COLLECTION OF THE LATE PERUVIAN COLLECTOR CARLOS FERREYROS Provenance:Property from a private collection, LimaAcquired directly from the artist by the present owners father, Carlos Ferreyros a prominent Peruvian collector, during his travels to Iran, circa 1967thence by descent to the present owner'I have never known two poplars to be enemiesI have never witnessed a willow selling its shade to the groundThe elm tree freely bestows its branch to the crow-and wherever there is a leaf- my passion blossoms likes a bush -bathing me in the joy of existence'- Sohrab SepehriThe present lot is an exceptional example from Sohrab Sepehri's celebrated Tree Series. Executed in the late 1960's, the depiction of Trees, for Sepehri, represented an escape from the harsh urban environment that he found so oppressive and melancholic, longing for a return to the verdant pastures of his native Kashan.Sepehri's strong representational impulse propelled by a love of the natural landscape of his native of Kashan and the near monastic technical discipline honed from his study and mastery of Eastern painting techniques. Poet, artist and intellectual, Sepehri's mild manner and withdrawn persona belied the richness of expression manifest in his works. Enraptured by nature, Sepehri had a deep and profound attachment to the topography of his native Kashan, the 'oasis city' where trees and vegetation sprung amidst the arid desert. The genesis of Sepehri's work was firmly rooted in this landscape, and he often bemoaned the long periods of absence from Kashan he had to endure when exhibiting and working abroad.Sepeheri had a firm belief in the inherent grace and nobility of the nature he so admired. Inspired by Eastern traditions, with which he had direct contact during travels in India and Japan, Sepehri came to see the purity of the natural world as an antidote to the corruption of the human condition. Removed from the sphere of urban tumult, an unblemished natural world exhibited order, harmony and simplicity.Sepehri's focus however, fell on perhaps nature's most visually striking and symbolically potent inhabitant; the tree. Monolithic, life-exuding, and perpetual, the tree is both the ultimate example of the force of nature, and its symbolic focal point, harbouring all four elements of life; soil within its roots, water within its ducts, expelling life giving oxygen and providing the fuel for fire, its form and significance gripped Sepehri's creative faculties.Sepehri's choice in depicting this singular archetype of nature derives from his belief in the beauty of the concise. Zen tradition encourages the shedding of excess and the absence of the superfluous, to this end Sepehri depicts only trunks, for he was no realist, and was concerned more with the meaning of a tree, its aesthetic essence, than construing its actual physical occurrence in a specified landscape.Combined with this, he employs a limited palette, consisting of coloured grays and dark greens. The limiting of colour to an absolute minimum is a conscious exercise in terseness, echoing the formal restraints of the Zen haiku which are limited to seventeen syllables, and reflecting Sepehri's belief that economy in colour resulted in greater artistic lucidity. Despite this terse palette, Sepehri manages to faithfully capture the texture, complexity and light and dark tonal variations between his tree trunks, delineating gracefully where trunks and branches engage, interlope and separate.Ultimately, for Sepehri, the depiction of a tree was a meditative endeavour, in the Japanese tradition of 'hitsuzendo', an attempt at creative self-reflection. Unlike Western traditions where the artist uses his faculties to fashion a work into existence, the Zen painting tradition holds that the 'man the art and the work are all one'.Flawlessly executed, the present work is not only superlative in its composition but stems from one of the most creatively fertile years in Sepehri's career, when the artist had no fewer than four major solo exhibitions in Paris, new York and Tehran. Archetypal, exemplary and sublime, the present painting is a work that is truly deserving of the title, 'best of breed'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
Los 10
Shakir Hassan Al Said (Iraq, 1925-2004)Cubist Cockerel oil on panel, framedsigned 'Shakir Hassan Al Said' and dated '1955' on the verso, executed in 195540 x 40.5cm (15 3/4 x 15 15/16in).Footnotes:AN IMPORTANT SHAKIR HASSAN AL SAID FROM THE SELIM FAMILY COLLECTION, GIFTED DIRECTLY BY THE ARTIST TO JEWAD SELIM IN 1955'We wanted to clarify to Iraqi artists in general, and to ourselves as an art group in particular, that istilham alturath (seeking inspiration from tradition) is the basic point of departure to achieve a cultural vision through modern styles.'- Shakir Hassan Al SaidProvenance:Property from the collection of Jewad SelimGifted to the above by Shakir Hassan Al-Said, circa 1955thence by descent 1951 marked the point when Iraq's two most prominent artists, Jewad Selim and his student Shakir Hassan Al-Said, formed the countries first bona fide modern art movement; The Baghdad Group of Modern Art, through its manifesto, membership, and numerous exhibitions would come to signify a 'golden age' in Iraqi modernism.Shakir Hassan Al-Said is often regarded as the theoretical dynamo of the movement; more vocal and prolific in his written output than Selim, Jabra Ibrahim Jabra comments that 'no Iraqi artist has written about art in general, and about the artists reflections on his own work in particular, as much as Shaker Hassan Al Said'.The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of twentieth century Iraq. Mesopotamian iconography and Islamo-Arabic cultural motifs were combined with popular modern folk imagery; the high flown formal rigidity of ancient rock reliefs met the convoluted urban landscape of modern Baghdad, populated with the humorous and extravagant characters of daily life, all coming together to form a unique amalgamated aesthetic that reflected the evolving patchwork of Iraqi culture at the time.Light hearted and boisterous, Al Said and Selim's depictions revelled in the rich and florid aesthetic of the Baghdad Street. The present work, a depiction of a Cubist Cockerel, is a quintessential example of this. A recurring motif in Arab culture, the cockerel has been a subject of ancient pottery, metalwork and embroidery. Seen as a traditional symbol of sustenance, nourishment and rural plenty, it is even said in the hadith of Abu Dawud that the Prophet Muhammad told his followers 'not to revile the rooster for it wakes you up for prayer'.Appropriating a symbol that is not only literally recurrent within the urban scenery, but signals the coming of the day, the passage of prayer, and which satisfies an important mercantile function, exemplifies the aim of the Baghdad Group's agenda, which was to depict an art which engaged the people, and which was reflective of their collective experience.In using a rich and uplifting Expressionist palette, and the visual language of the cubists, Al-Said's rooster assumes qualities and characteristics above and beyond the mere representational; by stressing vibrant colours and an angular anatomy, an abstract structure is favoured at the expense of strictly pictorial elements, an effect that is heightened as visual elements of the background fauna correspond to the representation of the Cockerel in palette and contour. The ultimate effect is that of the Cockerel as purely symbolic and highly stylized, an artistic invention.Acquired from Shakir Hassan by Jewad Selim, it is hard to think of a work with better provenance or one that closer to the very heart of the Baghdad movement than the present work. Given by student to teacher, cherished by him and his family for close to half a century, Al Said's Cubist Cockerel can truly be described as 'best of breed'.For further information on this lot please visit Bonhams.com
Los 11
Jewad Selim (Iraq, 1919-1961)Good and Evil, An Abstraction oil on canvas, framedexecuted circa 195150 x 75cm (19 11/16 x 29 1/2in).Footnotes:'GOOD AND EVIL, AN ABSTRACTION' - A RARE AND MAGNIFICENT 1951 OIL PAINTING BY JEWAD SELIM COMMISSIONED FOR THE IRAQI RED CRESCENT SOCIETYProvenance:Property from the collection of the renowned architects Nizar Jawdat (1920-2017) and Ellen Jawdat (1921-2020), acquired directly from the artist, thence by descent to the present ownersNote:The present work is a study for a tile mural planned for the entrance to the Iraqi Red Crescent Society headquarters in Baghdad, a building designed by Nizar and Ellen Jawdat'The ladies of the Women's Red Crescent asked us to design the headquarters for their charitable society. It would occupy a prominent position on a main thoroughfare in the south of the city. In addition to their administrative offices, the project would incorporate their most ambitious charity, an orphanage for about 50 young girls. Fresh from our studies and uncorrupted by caution, we designed a building that provided for their needs in a way that was new to Baghdad —a striking, functional modern design. Jawad Selim, now Iraq's foremost artist, agreed to design a mural in small ceramic, colored tiles that would fill the entrance wall to the offices: He produced an abstract design based on the theme of Good and Evil, which incorporated —appropriately, the symbol of the crescent moon.'- Unpublished Memoirs of Ellen Jawdat'The spectacle of the sky overwhelms me. I am overwhelmed when I see a crescent moon or the sun in an immense sky'- Joan MiroBonham's are proud to present perhaps one of the rarest and most sought-after Iraqi paintings to come to auction in recent history, from the father of Iraqi Modernism, Jewad Selim.Selim painted Good and Evil in 1951 as a study for a mosaic-mural commissioned by the Iraqi Red Crescent society for their Baghdad headquarters, a building designed by the Jawdat's themselves. While the mural itself was never constructed the painting remained in the hands of the family since its composition and its appearance at international auction seventy years later marks an immensely important re-emergence of a major oil painting by Selim Compositionally, Good and Evil is perhaps the archetypal Jewad Selim; painted at the zenith of his career, the work flawlessly expresses the aesthetic and conceptual agenda of the 'Baghdad Group of Modern Art' which Jewad himself co-founded. The Baghdad group was defined by an attempt to reconcile the grand visual legacy of the past within the contemporary cultural and nationalistic narrative of 20th century Iraq.Mixing traditional Iraqi and Islamic motifs with a modernist visual language, Selim weaves a form of 'folk modernism' which is both vernacular and universal. Focusing on the florid landscape of downtown Baghdad, Selim's composition is populated with abstract interpretations of the humorous and extravagant characters encountered in Iraqi everyday life. Light-hearted and boisterous, the Good and Evil is in part a stylistically sophisticated example of a burgeoning modernist movement in Iraq and in part a playful take on the mood and feel of life in Baghdad.The current work is the only known appearance at auction of a Jewad Selim composed with the artists iconic monochromatic silver backdrop, seen most prominently in his superlative painting, Baghdadiyat, now in the collection of the MATHAF: Arab Museum of Modern Art in Qatar. Inspired both by indigenous artistic vocabulary and the great European modernists that Selim studied during his artistic training, Good and Evil seamlessly combines oriental and modernist motif's. The monochromatic background and abstracted line-drawn forms are reminiscent of Spanish modernist Joan Miro, who curiously also had a fascination with crescent forms and used them extensively in his compositions on the constellations. The star and crescent motif itself is a common feature of Sumerian iconography, the crescent usually being associated with the moon god Sin (Nanna) and the star with Ishtar (Inanna), often placed alongside the sun disk of Shamash. In this manner, Selim demonstrates his ability to simultaneously borrow from ancient and modern artistic traditions. Selim's subject matter, an abstract interpretation on the struggle between Good and Evil, is a perennial component of ancient Mesopotamian art and mythology. A slender, horned, devil like figure towers almost comically on the left-hand side of the composition, while more benign winged creatures float on the foreground. The iconography of the ancient Middle East is rife in precisely this kind of abstracted 'dualism', specifically in the ancient Zoroastrian tradition where the universe was characterised as a constant struggle between the forces of Good and Evil. Selim's composition therefore pays homage to a rich artistic legacy in a composition which deftly marries the ancient and the modern in his inimitable style. Jewad Selim (1919-61)It is impossible to understand the modern art movement in Iraq without taking into account the works of this pioneer sculptor and painter, who was undoubtedly the most influential artist in Iraq's modern art movement. To him, art was a tool to reassert national self-esteem and help build a distinctive Iraqi identity. He tried to formulate an intellectual definition for contemporary Iraqi art. In charting his country's contemporary social and political realities, he was committed to combining the indigenous historical and folkloric art forms, with contemporary Western trends.Born in Ankara, Turkey in 1919 to Iraqi parents who moved to Baghdad in 1921, Jewad Selim came from a strongly artistic family: his father was an accomplished amateur painter, whose work was influenced by the European old masters, and his brother Nizar and sister Neziha were also accomplished painters, becoming well-known in their own right.Jewad was sent to Europe on government scholarships to further his art education, first to Paris (1938-39) and then to Rome (1939-40). The effects of World War II resulted in Jewad cutting short his studies and returning to Baghdad, where he began part-time work at the Directorate of Antiquities, where he developed an appreciation and understanding of ancient art of his country, and he also taught at the Institute of Fine Arts and founded the sculpture department.In 1946, he was sent to the Slade School of Art, London. At the Slade, Jewad met his future wife and fellow art student, Lorna. Jewad returned to Baghdad in 1949 to become Head of the Department of Sculpture at the Institute of Fine Arts, where he taught his students to draw on the heritage of their country to create a distinctive Iraqi style and artistic identity, which would become the ethos of an influential art movement just a few years later. In 1950 Lorna joined Jewad in Baghdad, where they were married.In 1951, Jewad Selim formed The Baghdad Modern Art Group.. Modern Iraqi art began with the first exhibition of the Baghdad group where they announced the birth of a new school of art that would 'serve local and international culture'.After painting his most mature works in the 1950s, the artist gave up painting and focussed on sculpture, the culmination of which was his Monument for Freedom in Tahrir Square in Baghdad of 1960-61. This was the largest monument built in Iraq in 2500 years '. The time frame presented by the President was unrealistic and the project did not run smoothly. Immense pressure was put on Jewad to finish his work and he suffered a heart-attack. He died one week la... 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
Los 2
First issue of Fine Gold, Sovereign of Thirty Shillings, mm. cross-crosslet (over lis on rev.) [1 January 1561 to 31 October 1562] ELIZABETH : D’· G’· ANG’· FRA’· ET HIBE’· REGINA :· Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars decorated with five pellets, chained portcullis below breaking ornate tressure A : DNO’· FACTV’· EST · ISTV’· ET · EST · MIRA’· IN : OCVL’ · NRIS Royal arms in centre of Tudor rose 15.25g/235.3gr/7h Holloway 04-03A-005 [of 10 coins with mm. cross-crosslet (over lis on rev.) recorded by the late owner]; Brown/Comber A4, this coin listed; SCBI Schneider 730, same dies; AHH [Alderman Horace Hird] Virtual 64, this coin; N 1978; S 2512 Light scratch from I of MIRA across tressure to N of NRIS, some weakness in places on upper reverse edge, otherwise better than very fine on a full flan, good detail £20,000-£30,000 --- Provenance: R.C. Lockett Collection, Part II, Glendining Auction, 11-17 October 1956, lot 1949 A. von Thielau Collection, Jacques Schulman Auction 233 (Amsterdam), 28-31 March 1960, lot 1561 H. Hird Collection, Part I, Glendining Auction, 30 May 1961, lot 29 R. Strauss Collection, Sotheby Auction, 26 May 1994, lot 76
![Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’·](https://cdn.globalauctionplatform.com/db4950eb-e8e0-4cc3-a71f-adc801148e06/795c4929-b936-4b1d-a1d4-adc900d0da8d/468x382.jpg)
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Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop [14 February 1585 to 30 May 1587] ELIZABETH · D’· G’· ANG’· FRA’· ET · HIB’· REGINA · Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets in annulets, pillars decorated with lis and double pellets, chained portcullis below breaking ornate tressure A · DNO’· FACTV’· EST · ISTVD ET · EST · MIRAB’· IN . OCVLIS · NRS’· Royal arms in centre of Tudor rose 15.34g/236.7gr/6h Holloway 15-16-001 [the only coin with this die combination recorded by the late owner]; Brown/Comber A15; SCBI Schneider 781, same rev. die; N 2003; S 2529 Light graffiti on Queen’s lower drapery and below orb, face of Queen weak and tiny edge crack at 12 o’clock, otherwise very fine, reverse better and with excellent detail, red tone £9,000-£12,000 --- Provenance: Glendining Auction, 25 May 1983, lot 8
Los 9
Second issue of Fine Gold, Sovereign of Thirty Shillings, mm. escallop (over Lombardic A on obv.) [14 February 1585 to 30 May 1587] ELIZABETH : D’· G’· ANG’· FRA’· ET : HIB’· REGINA :, colon to right of mint-mark Queen seated on ornamented throne, holding orb and sceptre; back of throne adorned with fine lattice work enclosing pellets, pillars decorated with single pellets, chained portcullis below breaking ornate tressure, from the same die as previous A · DNO’· FACTV’· EST · ISTVD · ET · EST · MIRAB’· IN . OCVLIS · NRS’ Royal arms in centre of Tudor rose, from the same die as previous 15.56g/240.1gr/4h Holloway 07A-12-004 [of 9 coins with mm. escallop (over Lombardic A on obv.) recorded by the late owner]; Brown/Comber A10; SCBI Schneider 779, same obv. die; N 2003; S 2529 A trace of creasing, edge irregular at 12 and 6 o’clock, some double-striking of legend and portcullis on lower obverse, otherwise very fine, reverse with light scratches above shield, otherwise extremely fine with sharp detail, full weight £20,000-£30,000 --- Provenance: SCMB February 1965 (G 489) Glendining Auction, 24 October 1973, lot 14 with G.E. Hearn UBS Auktion 47 (Zurich), 14-16 September 1999, lot 1507 bt Daruma October 2000
Los 1
Registration No: FKH 824 Chassis No: DC3958DL MOT: ExemptOffered from a deceased estate without reserveLong-term previous ownership and in current family ownership since 2017Had a cameo appearance in the 2002 film ‘A is for Acid’Accompanied by a history fileThe Flying 12 was introduced at the Motor Show in October 1935 with a 1609cc (12hp) four-cylinder side-valve engine producing 44bhp and driving through a 4-speed box. The car was sophisticated, quiet and well-mannered but it soon became clear that the performance was lacklustre thanks to a heavy body on a weighty chassis. Within a year the factory had designed a much lighter chassis for what is today known as the Light 12, but it was to take rather longer to develop a suitably lightweight body that would offer the space and the comforts that Standard desired.Manufactured in 1939, this Flying 12 was first registered in the UK on the 24th of March 1939. Fitted with the 1609cc four-cylinder side-value engine mated to a four-speed manual transmission and is finished in the complementary colour scheme of Black with Green interior trim. The Standard has a recorded mileage of 86,682 (atoc) miles and has been in current family ownership since 2017. Having a cameo appearance in the 2002 film ‘A is for Acid’, ‘FKH 824’ is now offered from a deceased estate and may require some recommissioning following a short period of storage although is said to ‘run well’. The Flying 12 was in previous long-term ownership and is accompanied by a history file that comprises previous logbooks, collection of past MOTs and tax discs and V5C document.Vendor Condition Ratings:Bodywork: 'Good’ Engine: 'Good' Electrical Equipment: 'Average' Paintwork: ‘Good' Gearbox: 'Average' Interior Trim: 'Average'Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
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Registration No: MKV 15FChassis No: B011033198H5HS0MOT: ExemptFaithful replica of the Hunter that took outright victory on the 1968 London-Sydney Marathon RallyHolbay Engineering tuned 1725cc OHV engine, twin Weber 45 DCOE carburettors, coupled to a four-speed manual gearbox with overdriveGenuine Minilite alloy wheels, with three spares on the roof plus a lockable spares boxBlessed with a strong bodyshell, tough suspension and 'bomb-proof' mechanicals, the Hillman Hunter always had the potential to be a successful rally car. Nevertheless, there was surprise when Andrew Cowan, Brian Coyle and Colin Malkin took the sole Works Hillman Hunter ('MKV15G') to outright victory on the 1968 London-Sydney Marathon (vanquishing factory BMC, Ford and Citroen opposition in the process).MKV 15F is a faithful replica of that car built by the late Gordon Jarvis. Under the bonnet is a Holbay Engineering tuned 1725cc OHV engine, fed by twin Weber 45 DCOE carburettors, coupled to a four-speed manual gearbox with overdrive. Gordon was working for Rootes in 1967 and it appears he had access to factory records to make this as faithful as possible to the winning car. It was also undertaken with Andrew Cowan’s full support and approval. Given its registration plate of MKV 15F, this wonderful recreation has been asked to ‘stand in’ for the genuine article at various shows and events. The exterior is a faithful homage to the original, with Capri blue paintwork, white roof and white stripe accents down the flanks, along with period stickers and decals including the ‘75’ London to Sydney rally number. The car has genuine Minilite alloy wheels, with three spares on the roof plus a lockable spares box. As per MKV 15G, there are Lucas roof, bonnet, and bumper mounted spotlights at the front, plus a Lucas 576 reversing light at the rear. The bodywork inside the boot was stiffened, and a larger 15-gallon Rapier fuel tank installed behind the rear seat. There is a Rootes bulkhead suspension top reinforcer fitted and an aircraft clock, stopwatch and Brantz Retrotrip. The car has been used on a number of events at home and overseas, proving to be very reliable over the years. The full specification is too detailed to list here so we advise prospective bidders to check the history file and view the car in person – we are certain it will not disappoint.Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760
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Registration No: J442 SPPChassis No: WP0ZZZ94ZMN430736MOT: December 2021Motor Car Location: Greater LondonRare and desirable UK-supplied S2 model (the majority of the 5,656 944 S2 Cabriolets made were LHD)Only three owners from new with the first owner retaining until 2017Just 71,898 miles from new (atoc)Offered with history file including original book pack and stamped service bookSubject to c.£1,800 worth of expenditure in October 2021Introduced in 1989, the Porsche 944 S2 was powered by a 3-litre DOHC four-cylinder engine allied to a five-speed manual transmission. With a quoted 208bhp and 207lbft of torque on tap, the model was reputedly capable of 0-60mph in 6 seconds and 150mph. The first open-topped 944 derivative - the S2 Cabriolet - featured a body built by the American Sunroof Company (ASC) of Weinsberg, Germany and many of the same styling cues as its Coupe sibling. Just 5,656 944 S2 Cabriolets were made before the model was superseded by the 968 in 1991.This 944 S2 Cabriolet was manufactured in 1992 and was first delivered on the 6th of May 1992 by Chariots Porsche Centre of St. Albans. Fitted with the 2969cc straight-four engine with the five-speed manual transmission, the Porsche is finished in Light Blue with Blue leather interior upholstery and a Blue hood. ‘J442 SPP’ is offered with just 71,898 miles (at time of consignment) and only three owners from new, the 944 was retained by the first owner until 2017. Subject to a ‘Category C’ insurance claim in 2010 but has since been AutoLign inspected in 2019 which concluded with the 944 being provided with a ‘Certificate of Investigation and Pass’ (a copy of which is provided in the history file), reclassifying the Porsche.Subject to £4,200 worth of expenditure in 2017, the Porsche received a service, new cam belts, further engine fettling and a brake overhaul provided by Porsche specialists. ‘J442 SPP’ is offered with a history file which comprises the book pack including stamped service book displaying ten service stamps as well as five brake fluid and coolant changes. Further accompanied by a selection of invoices, numerous MOT certificates and a current V5C.Vendor Condition Ratings:Bodywork: 'Excellent’Engine: 'Excellent'Electrical Equipment: 'Excellent'Paintwork: ‘Very Good'Gearbox: 'Excellent'Interior Trim: 'Excellent'Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
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Registration No: FT07 NYN Chassis No: WUAZZZ8E17N907471 MOT: August 2022Only one owner and offered directly from said keeperJust c.60,000 miles from newAn unmolested example with main dealer service history throughout its lifeA highly collectable modern classic rated as 'excellent' throughoutThe B7 RS4 was a drastic departure from previous Audi RS models being available initially as a four-door saloon with the Avant Estate and the Cabriolet arriving later, unlike the previous RS4 and RS2 which were available exclusively as Avants. In manufacture between 2006-2008, the B7 was constructed from fully galvanised steel in a monocoque design with the RS4 benefiting from lightweight Aluminium front wings and bonnet. Despite the wide flared arches, large air intakes and low and purposeful stance, the RS4 had a class-leading drag coefficient. The engine of the B7 RS4 is based on the existing all-alloy 4163cc V8 from the B6 S4 and shared many parts with the 4.2 FSI V8 in the Q7. Producing 414bhp at 7,800rpm, the power is fed through a Getrag 6-speed manual gearbox and out to all four wheels with the aid of Audi’s trademark ‘Quattro’ permanent four-wheel-drive system.Manufactured in 2007, ‘FT07 NYN’ was supplied new by Grimsby Audi on the 4th of August 2007 to its first and sole keeper. Finished in Light Silver metallic with the classic RS cockpit in Black RS4 leather interior. Having covered just 60,053 miles (at time of consignment), the RS4 was well-specified from new with CD changer; powered and heated mirrors; rear and side windows tint; ultrasonic parking sensors amongst many others. Rated as ‘excellent’ condition throughout by the vendor, the Audi is in unmolested condition.Benefitting from some cosmetic restoration in 2021 to the cost of approximately £1900, the RS4 has accompanying invoices for work completed with notable invoices including two equating to c.£9,200 worth of expenditure at Grimsby Audi in 2018 encompassing four suspension shock absorber regulators, air conditioning regassing, new front and rear brake discs and pads and more. Accompanied by a history file that comprises the original book pack with a stamped service book (displaying eight services all from Grimsby Audi), a vast collection of service and work invoices, previous MOT certificates and tax discs and a V5C document. A rare, one-owner example of an undoubtable modern classic.Vendor Condition Ratings:Bodywork: 'Excellent’ Engine: 'Excellent' Electrical Equipment: 'Excellent’ Paintwork: ‘Excellent' Gearbox: 'Excellent' Interior Trim: 'Excellent'Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Los 10
Registration No: K79 FYO Chassis No: SCBZB03A0PCH42550 MOT: October 2022Just c.52,000 miles from newEntered into current ownership since 2016 and six former keepersSupplied new by Silverlane, Bristol and first registered ‘3 CYD’Offered with a history file including stamped service bookThe Continental R (code-named ‘Nepal’ by the engineering department) was designed and built entirely at Crewe. This was a significant change from previous Continentals that were offered out to coachbuilders to complete, although Mulliner Park Ward was involved in developing the body shape. The Continental R filled the space left by the Carmargue, sharing with that model an eye-watering list price. When launched in 1991, the initial press release had the price as £160,000, only for that to be tweaked upwards soon afterwards to £175,000, when the new VAT rate was announced in that year’s budget. The sleek shape had more than a nod to a more modern Bentley, to an exciting future, rather less obviously classic, and benefitted from work in the wind tunnel; the windscreen was raked to lower the vehicle’s drag coefficient, enhancing fuel consumption, lowering wind noise and raising the model’s top speed. It is said that when the model was unveiled at the Geneva Motor Show, the assembled audience broke out into spontaneous applause.Manufactured in 1993, ‘K79 FYO’ was supplied new via Silverlane of Bristol, being delivered on the 1st of January 1993 and initially registered ‘3 CYD’. Finished in Diamond Graphite with Light Grey hide and powered by the company’s revered 6750cc V8 engine, now using a new four-speed GM automatic transmission, the 325bhp turbocharged power unit would offer a near 150mph top speed and somehow heave Bentley’s 2.4-tonne bulk to 60mph in just over six seconds. ‘K79 FYO’ has covered just 52,544 miles (at time of consignment) and has had just six former keepers, with the Bentley residing in current ownership since 2016.The beneficiary of approximately c.£2,500 worth of expenditure with Origin Motorwork (Rolls-Royce Specialists) during current ownership including servicing, new drive belt and suspension remediation work, the history file also illustrates approximately £2,800 worth of expense with specialists Stewart Walker Ltd which comprised power steering fettling and remedy to the central locking in 2015. The accompanying history file includes further invoices for work completed and services as well as the original book pack (with service records) presented in the leather Bentley wallet, a current V5C, a selection of previous MOTs and other sundry paperwork. The aforementioned service history shows eighteen service records, four main dealer records, twelve from Rolls-Royce/Bentley specialists and two further from Aston Martin specialists, with the most recent completed at 49,971 miles by Brooklands Motorworks. The air condition system has been updated with a modern gas conversion and the Continental is offered with an MOT certificate until October 2022.Vendor Condition Ratings:Bodywork: 'Excellent’ Engine: 'Excellent' Electrical Equipment: 'Very Good' - Please note the cruise control is not working and the pop-out sat-nav screen is not operating although the Alpine sound system works fine. Paintwork: ‘Excellent' Gearbox: 'Excellent' Interior Trim: 'Very Good'Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
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Registration No: FHH 451KChassis No: 10805712004753MOT: ExemptFinished in original factory colour of Mittelblau complimented by contrasting Light Grey upholsterySupplied new in 1971 to the Netherlands in LHD configurationOnly 2 previous keepers with the first of some 45 yearsThird & current keeper imported to UK 2018Current owner spending £15,000 recommissioning and maintenance Among the fastest, most luxurious saloons of its generation, the four-door Mercedes-Benz 280SE 3.5 was introduced at the 1970 Amsterdam Motor Show. The work of Paul Bracq, its elegant, understated lines were shared with the rest of the W108 range but gave little clue as to the newcomer's reputed 125mph potential. Based around a beautifully engineered monocoque bodyshell equipped with all-round independent suspension (double-wishbone front / swing-axle rear), power-assisted recirculating ball steering and four-wheel disc brakes, the model was powered by a freshly developed 3499cc SOHC V8 engine allied to four-speed automatic transmission. Credited with developing some 200bhp and 211lbft, the all-alloy powerplant was feted for its flexibility, refinement and punch. Only in production between July 1970 and September 1972, the 280SE 3.5 is notable as one of the last Mercedes' saloons to be handbuilt.Finished in Mittelblau with Light Grey upholstery, chassis 004753 was reportedly supplied new to the Netherlands and retained by its first keeper for some forty-five years. Imported to the UK in 2018, ‘FHH 451K’ is said to have benefited from approximately £15,000 worth of recommissioning and maintenance work during the current (only third) ownership. A handsome and usable 1970s sports saloon with undeniable style.Footnote: For more information, please contact: HandH classicEmail: info@handh.co.ukT:+44 (0)1925 210035
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Registration No: VF53 RVJChassis No: 1G1YY32G345114289MOT: 08 November 2022Presented in red with contrasting grey leather interior Features sought after BOSE premium audio and Z06 alloy wheelsDisplays just 72,551 miles on the odometer and offered with an MOT valid until 08 November 2022 A discernible improvement on its predecessor, the fifth generation or C5 Corvette was introduced in 1996. Commendably light and stiff, its hydroformed box frame chassis played host to composite transverse-leaf independent suspension, rack and pinion steering and four-wheel disc brakes. Powered by a new alloy 5.7-litre LS1 V8 engine, initially rated at 345hp/350lbft, the powerplant was increased to 350hp/365lbft for the 2001 model year. The C5 Corvette Convertible was reputedly capable of 0-60mph in 4.8 seconds and 164mph. Proof of the design's fundamental soundness, the racing C5-R versions were regular class winners at the Le Mans 24-hours.One of the later C5 cars, VF53 RVJ was manufactured in 2003 and imported to the UK in April of 2018. Presented in red with contrasting grey interior, this particular example features sought after BOSE premium audio and Z06 alloy wheels. It currently displays some 72,551 miles on its odometer. The vendor rates the condition of the paintwork as “good”, the interior trim as “good to very good” and the bodywork, engine, electrical equipment and transmission all as “very good”. VF53 RVJ is accompanied by a V5 document showing two former UK keepers.Please note: This vehicle is now offered with an MOT certificate valid until 08 November 2022.Please note: This vehicle is currently displaying an airbag light on the dashboard, as well as an intermittent traction control light. In addition, the windows are also intermittent.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
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Registration No: F673 TRUChassis No: 8266SMOT: November 202229,640 miles from new and current ownership since 2010Powered by a Rover V8 engine mated to a 5-Speed manual gearboxOffered with a collection of invoices and old MOT's This low-mileage Spyder has covered just c.29,640 miles from new having been in the current ownership since 2010. Powered by a Rover V8 engine mated to a 5-Speed manual gearbox ‘F673TRU’ is finished in dark blue with blue interior, the specification includes electric windows and a stainless-steel exhaust. Offered with a collection of invoices, assorted old MOT's back to 1993, current MoT to November 2022 and a Marcos build manual, the Spyder benefits from an oil and filter change carried out in January this year whilst the vendor currently rates it as having “good” bodywork, engine, transmission and interior with “average” paintwork.Founded by Jem Marsh and Frank Costin in 1959, Marcos was to become synonymous with British sports car building for road and track use during the 1960s before difficulties with the American market and the expense of new premises caused the firm to close in the early 1970s. The Marcos name was resurrected by Jem Marsh in 1981 with the premise of offering the previous GT models as kits. Power options were mainly Ford, Rover and Triumph units ranging from humble four-cylinders to larger V6s and V8s. Making its debut in 1993, the Mantula was similar to the old GT but was powered by Rover’s 3.5-litre V8 coupled to a five-speed transmission. The light alloy engine gave the car an all-up weight of around 900kg making performance on a par with rival models from TVR and Morgan. In 1989 the convertible or Spyder version was introduced which went on to become the most popular variant. A total of 170 coupes and 119 Spyders were built before Marcos retired from the kit car business in 1992 to concentrate on factory offerings.Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760
Los 83
Registration No: 67 CCChassis No: 194377S109249MOT: ExemptPresented in its original shade of Marina Blue with matching Bright Blue interiorFantastic factory specification including 4 speed manual transmission, side-mount exhaust system and cast aluminium bolt on wheelsRegistration ‘’67 CC’’ (on a 1967 Chevrolet Corvette) included with the vehicleGrowing up from its first foray as an anaemic six-cylinder roadster in 1953, the Corvette matured fast, gaining V8 power in 1955 and packing more muscle (such as a fuel-injected 283 cu in V8 in 1957), options and ornate styling cues with every year. In 1963, the second generation debuted with clean, sharp-edged styling by Larry Shinoda that introduced coupe bodywork to the Corvette for the first time. This C2 style lasted until 1967 after which it was replaced by the C3 Stingray; these 'mid-year' cars are some of the most collectible Corvettes today. Four-wheel disc brakes arrived in 1966, along with the option of the big-block 396 cu in engine, but even the base 327 cu in powerplant gave 300bhp. The 1967-year models benefited from five years of development and are acknowledged as being the best of the C2 line. Indeed, the solid lifter L88 427/430 would become most sought-after Corvette ever; with only 20 examples being produced.Model year improvements for the 1967 line included; five smaller front fender vents replacing the previous three larger ones, flat-finish rockers without ribbing creating a lower, less chunky appearance, a single reversing light mounted above the licence plate whilst the previous model’s wheel covers gave way to slotted six-inch Rally wheels with chrome beauty rings and wheelnuts concealed behind chrome caps. Interior alterations were modest and included revised upholstery, whilst the handbrake was moved from beneath the dash to between the seats. With potential buyers anticipating the car's overdue redesign, sales for the Sting Ray's final year totalled 22,940, down by over 5,000 units from the results for 1966. Meanwhile, Chevrolet readied its third-generation Corvette for launch in the 1968 model year.Offered in its original shade of Marina Blue with matching bright blue interior, this particular example was subject to a ‘frame off’ restoration in the US prior to its import to the UK in 2007. It has had just two owners since, forming a part of the vendor’s private collection for the past five years. The extremely appropriate registration mark ‘67 CC’ (1967 Chevrolet Corvette) is included in the sale. In addition, the car boasts an impressive factory specification, including four-speed manual transmission, side-mount exhaust system and cast aluminium bolt on wheels.Currency displaying 29,291 miles on its odometer, 67 CC was subject to a full service in February of this year at a cost of £1073. Accompanying the car is a comprehensive history file which includes an owner’s manual, a number of previous MoTs, authorisation papers and shipping documentation together with a number of invoices.Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
Los 38
Registration No: YF02 VNM Chassis No: ZAMAA38C000004076 MOT: T.B.CA rare and desirable manual example of the 3200 GTOnly c.42,500 miles from new (atoc)Resided in the current private collection since 2016 and just five former keepersBenefitting from a replacement clutch, new starter motor and some paintwork while in the vendor's custodianshipThe Maserati 3200GT was styled by Italdesign whose founder and head, Giorgetto Giugiaro, previously designed, amongst others, the Ghibli, Bora and Merak and so it certainly had an impressive pedigree. Sold mainly in Europe, the 3200GT shared the twin-turbo, 3.2-litre, V8 featured in the Quattroporte IV and Shamal, now revised and tuned to 365bhp.The tail-light design consisted of LEDs arranged in the shape of a boomerang with the outer layer of the 'boomerang' providing the brake lights and the inner layer the directional indicators.Manufactured in 2002, this 3200 GT was first registered in the United Kingdom on 30th of April that year and is powered by the aforementioned 3217cc V8 engine mated to the desirable and rare six-speed manual transmission. Finished in the attractive colour scheme of Sebring Blue with cream leather interior, the car has covered only c.42,500 miles from new. Entering into the vendor’s private collection in 2016, ‘YF02 VNM’ has been enjoyed by just five former keepers.The beneficiary of a new clutch, clutch slave cylinder, replacement starter motor and attention to areas of paintwork amongst other additional works while in the vendor's custodianship at a cost of approximately £3,200, it was last serviced at 41,913 miles. Previous to that, ‘YF02 VNM’ was subject to a cam belt service at 39,445 miles with further work carried out at this time including new lower front suspension arms, front anti-roll bar drop links and rear track rod-ends at a cost of approximately £5,000. This was carried out by respected specialists McGrath Maserati. Offered with a history file including the owner's handbook, a collection of previous invoices, a selection of MoT certificates and V5C document. Footnote: For more information, please contact:Andreas Hicksandreas.hicks@handh.co.uk07943584762
Los 413
A Copeland Spode two handled oval shaped dish, teapot, two soup dishes, a bowl, three cups, two bowls, a Royal Copenhagen blue onion teawares including four cups, saucers, plates and four slightly differently decorated plates, Delft items etc Condition Report: teapot, oval bowl, and two sugar bowls all ok, light surface scratches, no chips or cracks. One cup cracked, one large bowl chipped, plate chipped, other pieces ok but heavy scratch marks to surface.
Los 418
A Royal Paragon Waterlily pattern teaset comprising twelve cups, saucers and plates, cake plate, oval dish, milk jug and sugar bowl, pattern number G1653 Condition Report: saucer cracked. cup cracked. sugar bowl has a small crack to top rim. Cake plate has some large deep scratches. Other pieces have light surface scratches.
Los 378
An unusual Wedgwood blue and silver decorated bowl, initialled CMH 6523 to base, 22.5cm diameter, together with a Wedgwood slipware dish Condition Report: blue silvered bowl - some scratches to the silvered flower in the well, otherwise good condition. Slipware dish - small chip to the edge of the slipware decoration, three prong marks to the base/top from firing, light crazing to base and scratches.
Los 155
A ruby and diamond cluster pendant on chain, the pendant designed as a flowerhead cluster of millegrain set pear-shaped mixed-cut rubies and graduated round brilliant-cut diamonds, below a similarly cut diamond set tapered bale, suspended from a fancy-link chain, 18ct white gold mounted, total diamond weight approximately 1ct, pendant length 2.55cm, chain length 51.5cmCondition report: Of modern manufacture, with light surface wear throughout. Rubies are well matched, of dark pinkish-red hues, most stones containing fracture/feather inclusions and areas of faint colour zoning when viewed under magnification. Each ruby measures approx. 4.2mm length x 3.5mm width. Diamonds are well matched, bright and lively, with estimated VS1 to SI2 clarity and H to K colour, assessed mounted. Largest diamond weight approx. 0.13ct. Mount also stamped 'R1.88 D1.07'. The chain clasp is functioning. Combined gross weight approx. 20.5gm.
Los 271
An early 20th century aquamarine and seed pearl pendant necklace, the openwork navette-shaped drop with foliate accents, centred with a circular mixed-cut aquamarine and seed pearl cluster, below a similar aquamarine set surmount, on trace-link back chain, stamped '15ct', with later clasp, pendant length 4.6cm, chain length 46cmCondition report: Surface wear and occasional chips to the aquamarines, light surface wear to the seed pearls, similar surface wear, nicks and scuffs to the mount and chain. The right side of the openwork pendant drop is very slightly mis-shapen. Width of pendant drop approx. 1.25cm. The seed pearls are untested for origin. The mount has solder joins/repairs at the junctions between the panels and the jump ring at the bottom of the surmount has worn thin. The clasp is currently functioning but may be later replaced. Metal standard is untested. Combined gross weight approx. 3.4gm.
Los 171
A jade and diamond pendant, the oval jadeite cabochon claw set between trios of round brilliant-cut diamonds, with dual loop fitting, white precious metal mounted, together with a jade tassel pendant, yellow precious metal mounted, (all jade untested for treatments), lengths 2.2cm and 6.3cm respectively (2)Condition report: First pendant: diamonds are well matched, bright and lively, with estimated VS1 to SI1 clarity and H to J colour, assessed mounted. The jadeite cabochon has variable whiteish, light green and mid-green hues with surface wear and surface-reaching fractures. The mount appears to be modern, with light surface wear, and is not marked. Metal standard is untested. Gross weight approx. 8.5gm. Second pendant: the carved jadeite has variable whiteish and light green to dark green hues, with surface wear, scuffs, scratches and nicks/chips and multiple surface-reaching fractures. The mount appears to be modern, with light surface wear, and is not marked. Metal standard is untested. The loop fitting has been filed to one side. Gross weight approx. 14.7gm.
Los 237
A diamond and half pearl panel brooch, the shaped oval panel with openwork geometric decoration, centred with a half pearl and trios of millegrain collet set old brilliant-cut diamonds, bordered by similarly set graduated old and single-cut diamonds, white precious metal mounted, stamped 'PLAT' and numbered 50097, (half pearl untested for origin), total diamond weight approximately 2.70ct, length 6.7cmCondition report: Diamonds are mostly well matched, bright and lively, some stones with chips and surface-reaching fractures, estimated SI1 to P2 clarity and H to K colour, assessed mounted. Diamonds graduate from approximately 0.25ct. to 0.01ct in weight, the largest diamonds each measuring approx. 4.2mm diameter x 2.7mm depth. The half pearl has a peachy-white hue with light surface wear, measuring approx. 6.2mm in diameter, and is assumed to be cultured. The brooch mount has surface wear, scuffs and nicks/chips. The brooch pin and catch are functioning and of a more yellowish hue than the panel. Metal standard is untested. Gross weight approx. 10.8gm.
Los 233
A pair of aquamarine and diamond ear pendants, each pear-shaped mixed-cut aquamarine drop surmounted by a round brilliant-cut diamond, set throughout in claw settings, on post and butterfly fittings, white precious metal mounted, total diamond weight approximately 2ct, length 2.2cmCondition report: The aquamarines have light greenish-blue hues with good transparency and faint 'rain' inclusions viisble under magnification, both stones with small chips/nicks and scuffs to the surface. The auaqmarines measure approx. 12.3mm length x 8mm width x 5.6mm depth and 12.3mm length x 7.9mm width x 5.2mm depth. Diamonds are well matched, bright and lively, both stones containing fracture and mineral inclusions, some of the fractures are possibly surface-reaching. Both stones have faceted girdles with occasional naturals. The diamonds measure approx. 6.3mm and 6.4mm in diameter (depth unknown, due to setting). Estimated P1 to P2 clarity and H to I colour, assessed mounted. The earring mounts are modern, with light surface wear, and the butterflies are functioning. The butterflies are stamped 'AU750'. Metal standard is untested. Gross weight approx. 5.2gm.
Los 293
A stainless steel 'Dynamic' automatic wristwatch by Omega, circa 1970, the circular dial with baton markers, day/date display, luminous insert hands and centre seconds hand, to a stainless steel case with brushed finish, on a leather strap, the dial, winder and strap signed, accompanied by maker's red pouch, case width 4.1cmFootnote: Please note, the watch case has not been opened and the watch movement has not been viewed. Originality of the movement cannot be guaranteed.Condition report: There is a blemish/scuff to the dial between 6 and 7, light surface wear to the remainder of the dial and patchy discolouration to the luminous insert hands and blue seconds hand. The glass has numerous scuffs, scratches and nicks/chips. The case has general surface wear and some scattered deeper scuffs/scratches, with occasional chips/nicks, and wear to the stamped marks on the case back. The case inside and movement have not been viewed. The movement runs intermittently but does not appear to be keeping time and may require repair. Working order cannot be guaranteed. Case dimensions approx. 4.1cm width x 3.65cm length. The strap is signed but heavily worn, with losses to the finish, and may not be original.
Los 9
An amethyst set fancy-link bracelet, designed as a series of oval openwork panels, each accented with circular mixed-cut amethysts, to a padlock clasp stamped '9ct', (one amethyst deficient), length approximately 18.5cmCondition report: One amethyst is missing. The remaining amethysts have slightly variable light to mid purple hues, some with fracture inclusions and areas of whiteish colour zoning. All have surface wear, scuffs and chips. The bracelet has considerable wear, with dents, chips, splits and creases to the panels and connecting links, which are of hollow construction. The ends of the panels and links are worn and some may have been repaired. The clasp has a more rose-coloured hue and is worn, with shallow dents/dings, but is functioning. Metal standard is untested. Gross weight approx. 13.5gm.
Los 294
A lady's 9ct gold bracelet watch by Rotary, the oval silvered dial with baton markers, to a quartz movement, the case hallmarked for London 1979, on a fancy chevron-link bracelet, case width 1.4cm, total length 16.5cmCondition report: Light spotting, scuffs and dust residue to dial. Surface wear to glass. Solder repair to one link on bracelet and wear/looseness at junctions between links. Scuffs, scratches and nicks/chips to case and bracelet, commensurate for use. Clasp is not currently functioning and requires repair/adjustment. The winder is gilt metal, with wear to the plated finish, and may be later replaced. Movement not currently working and untested for working order, which cannot be guaranteed. Gross weight approx. 12gm (including movement).
Los 47
A 19th century enamel and diamond set memorial miniature pendant/brooch, the oval miniature painted with the portrait of a lady wearing a turban, pearl necklace and earrings, possibly on ivory, to an openwork foliate scroll frame with graduated old and rose-cut diamonds in foiled closed-back settings, heightened with blue enamel and old-cut diamond set bosses to the cardinal points, the reverse with glazed hairwork compartment to an opalescent enamel ground, brooch fitting possibly later, length 6.45cmCondition report: Dust/dirt residue and occasional light scuffs to miniature panel, scuffs and nicks to glazing, length of panel 3.8cm. Diamonds have a typically greyish appearance with variable colour and clarity, some stones with chips/fractures, but give an overall lively appearance. Some of the foil backing has patchy discolouration and occasional stones may be later replaced. Largest old-cut diamond weight approx. 0.04ct. Scuffs and nicks to blue enamel bosses. The opalescent enamel to the reverse is fractured and crazed and the hairwork compartment has dust/dirt residue. General wear, scratches, scuffs, nicks and chips to mount, commensurate for age and use, with patchy tarnishing and rubbing to engraved decoration on reverse. The mount is untested but appears to be a silver and gold combination. The brooch catch requires repair/adjustment. Gross weight approx. 30gm.
Los 126
Two antique full hoop eternity rings, comprising a half pearl full hoop ring, and an amethyst full hoop ring, each gold mounted, (three amethysts deficient, half pearls untested for origin), ring sizes M½ and J½ respectively (2)Condition report: Both of the settings have considerable wear, commensurate for age and regular use, with patchy thinning to the edges of the settings. Three stones are missing to the amethyst band, and two loose amethysts are included with the lot, although one of these stones is heavily chipped. The remaining amethysts have chips, fractures and scuffs, commensurate for use, and vary from light to mid purple hues with areas of whiteish colour zoning. Some of the amethysts are later replaced. There is a fine solder seam to the amethyst set band, presumed to be part of manufacture, and the band measures approx. 2.8mm in width. The half pearl set band has a similar solder seam, presumed to be part of manufacture. At least 2 or 3 of the half pearls appear to be later replaced, having a brighter lustre, and the remaining half pearls have creases, ripples, scuffs and fractures to the nacre surface, with patchy greyish discolouration. Width of this band approx. 3.4mm. Approximate gross weights: amethyst ring 1.5gm, half pearl ring 1.4gm. Both mounts are untested for metal standard.
Los 40
An early Victorian memorial brooch/pendant, centred with an oval glazed compartment containing hairwork spray, within a scrolling openwork border accented with textured foliage, verso inscription dated 1854, length 7cmScuffs, scratches and nicks/chips throughout mount and to glazed compartment. Some foliate panels have fine splits to edges. Further splits and dings to edges of mount, at rim of glazing. Dust residue to hairwork panel, simulated pearls to spray are damaged. Evidence of solder at junctions within mount, possibly due to repair. Brooch fitting appears to be original and is functioning. Pendant loop may be later added. Inscription has patchy light wear. Mount is untested as gold/gilt metal. Gross weight approx. 31.5gm.
Los 178
A diamond pendant on chain, the openwork heart-shaped pendant edged with round brilliant-cut diamonds, suspending a pear-shaped brilliant-cut diamond in claw setting to the centre, below a tapered diamond set bale, on a curb-link chain, 18ct white gold mounted, pendant length 3.2cm, chain length 44cmAccompanied by a Diamond Grading Report issued by GIA, stating that the pear-shaped diamond has E colour and VS2 clarity, weighing 1.21ct, report no.15663614, dated 7 December 2006.Condition report: The principal diamond is bright and lively, with a slight 'bow tie' effect at the widest point. Bordering diamonds are well matched, bright and lively, with estimated VSI to SI2 clarity and H to J colour, assessed mounted. The pendant mount and chain are modern, with light surface wear. Total gross weight approx. 10.2gm.
Los 309
A stainless steel 'Grand Prix' wristwatch by Vulcain, the circular silvered dial with Arabic numerals and subsidiary seconds dial, to a manual wind movement, on an unassociated leather strap, case width 3.75cmCondition report: Linear scuff to dial between 8 and 9, further smaller scuffs to outer edges of dial and subsidiary dial. Spotting and light scuffs to remainder of dial. Conchoidal chip/fracture to glass between 8 and 9, surface wear to remainder of glass. Surface wear, scuffs and nicks/chips throughout case, deep scuffs and knife marks to case back. The winder operates the hands and winds the movement, but is not signed and may be a later replacement. The movement runs when wound, but is untested for working order, which cannot be guaranteed. Case dimensions approx. 4.7cm length x 3.75cm width (excluding crown). Light wear to strap.
Los 10
A Victorian turquoise and diamond set pendant, the circular domed panel centred with a pavé set cluster of cabochon turquoises, with lasque-cut diamond highlight in star-shaped setting, bordered by further turquoise cabochons spaced by ropetwist wirework scrolls, glazed verso, (pendant loop later replaced), in fitted case signed W. Best, Wimpole Street, and a half pearl and enamel locket pendant, heightened with a black enamel snowflake to a turquoise blue enamel ground, (half pearl untested for origin), both pendant lengths 3.3cm (2)Condition report: First pendant: small section of wirework missing to one of the scrolls. Scuffs, scratches, nicks and surface wear throughout mount, some patchy discolouration and tarnishing. Glazed panel to aperture on reverse is loose. Turquoise cabochons have discoloured to variable greenish hues, all have scuffs and surface wear, some have chips and fractures. Diamond is greyish. Metal standard is untested but mount appears to be gold. Gross weight approx. 6.5gm. General wear and light staining to case. Second pendant: Chips and fractures to black enamel snowflake, chip to half pearl. Scuffs, nicks and occasional minor chips to blue enamel, yellowish staining to enamel on reverse. Hinge is functioning and locket closes tightly. General surface wear and patchy tarnishing to mount, dust and dirt to interior compartments, metal standard is untested and unknown. Gross weight approx. 6.6gm.
Los 182
A diamond cluster ring, the flowerhead cluster of graduated old-cut diamonds in claw setting, white precious metal mounted, stamped '18CT', (one Swiss-cut diamond later replaced), principal diamond weight approximately 0.65ct, total diamond weight approximately 1.60ct, ring size J½Condition report: The old-cut diamonds are well matched, bright and lively, but the principal diamond contains an outer surface-reaching fracture and chip that is positioned beneath one of the claws. The smaller old-cut diamonds contain fracture and small mineral inclusions, some that may be surface-reaching. Estimated H to J colour and SI1 to P2 clarity, assessed mounted. Principal diamond dimensions approx. 5.4mm length x 5.6mm width x 3.7mm depth. Weight of bordering diamonds approx. 0.12ct each. The later replaced Swiss-cut diamond has a slightly milky appearance and is not quite a match for the other stones. The ring mount has light surface wear, scuffs and nicks throughout and the shank has been re-sized. Metal standard is untested. Gross weight approx. 4.7gm.
Los 153
A ruby and diamond half hoop ring, alternately set with circular mixed-cut rubies and pairs of round brilliant-cut diamonds, 18ct two colour gold mounted, total diamond weight approximately 0.12ct, ring size MCondition report: Rubies are well matched, of deep pinkish-red hues, containing some small feather and mineral inclusions. All have light surface wear and measure approx. 2.5mm to 3mm in diameter. Diamonds are well matched, fairly bright and lively, with estimated VS2 to SI2 clarity and J to L colour, assessed mounted. The ring mount is modern, with light surface wear and patchy tarnishing. Gross weight approx. 3.3gm.
Los 146
A sapphire and bouton pearl wreath brooch, collet set with trios of circular mixed-cut sapphires to the cardinal points, spaced by single bouton pearls, yellow precious metal mounted, (pearls untested for origin), length 2.8cmCondition report: Sapphires have variable light to dark greyish and purplish-blue hues, some stones containing mineral inclusions that are just visible to the unaided eye. All stones have surface wear, scuffs and small chips/nicks commensurate for use. Pearls have surface wear, scuffs and subtle blemishes to the nacre surface. The brooch mount has general wear and the brooch pin and hinge are later replaced, with an associated dark solder join. Metal standard is untested. Gross weight approx. 2.8gm.
Los 127
A late Victorian/Edwardian diamond and half pearl set festoon necklace, of swag-link design, suspending an old-cut diamond set heart pendant from a half pearl set linear drop, between two half pearl set trefoil motifs, on a trace-link back chain, gold mounted, pendant length 2.8cm, chain length 39cmCondition report: Scuffs, scratches, chips and nicks to the pendant drop and panels, surface wear and light tarnishing to the chain and swags. The heart pendant drop also has an area of dark staining and deeper scuffs to the back, and the jump ring fitting above it may require a solder repair. The half pearls have discoloured to greyish hues and have surface wear. The diamond is bright and lively, weighing approx. 0.03ct. The swags may have a tendency to twist when worn and the clasp is currently functioning. Metal standard is untested. Gross weight approx. 7.5gm.
Los 174
A 9ct gold collar necklace, designed as a series of repeating leaf panels, maker's mark EFC, length 36cmCondition report: Of relatively modern manufacture, with light surface wear throughout. The clasp is currently functioning. Hallmarked for Birmingham, either 1969 or 1994 (date letter U). Gross weight approx. 21.2gm.
Los 297
A lady's stainless steel, yellow gold and diamond set automatic 'Oyster Perpetual' bracelet watch by Rolex, the circular dial with single-cut diamond markers, luminous insert hands and centre seconds hand, the stainless steel case with yellow gold fluted bezel, on a stainless steel and yellow gold Jubilee link bracelet, model ref. 67193, serial no. X913824, (glass deficient), case width 2.5cmAccompanied by an International Service Guarantee card issued by Rolex, dated 23 November 2010. Please note, the watch case has not been opened and the watch movement has not been viewed. Originality of the movement cannot be guaranteed.Condition report: Some damage to dial, where glass previously fitted had smashed, with small shards of glass still located to dial surface, some of the shards having scuffed and scratched the dial on impact. The dial will require professional cleaning to remove these shards. Small areas of light brownish discolouration to dial bordering some of the markers. Diamonds are well matched and bright. The glass is missing and requires replacement. The movement currently runs but has not been viewed, therefore originality of the movement cannot be guaranteed and working order of the movement cannot be guaranteed. Scuffs, scratches, nicks/chips throughout case and bracelet, commensurate for use. Some looseness and play between bracelet links. The foldover clasp is loose fitting and requires repair/adjustment. The exterior of the clasp and the side of the case have heavier scuffs and scratches. One additional bracelet link included with lot. The bracelet would currently fit a small to medium-sized wrist, length approximately 15 to 16cm.
Los 272
A late 19th century amethyst demi-parure, comprising a rivière necklace, a pair of bracelets and a cross brooch/pendant, the necklace designed as a line of graduated oval mixed-cut amethysts in pinched collet settings, with central hinged loop fitting and foil-backed amethyst clasp, (later tongue fitting), the bracelets similarly set with slightly graduated oval mixed-cut amethysts, each with a foil-backed amethyst clasp, convertible as a collar necklace when worn together, the brooch/pendant similarly set with oval and pear-shaped mixed-cut amethysts, with bead accents, together with a pair of matched amethyst ear pendants, on screw-back fittings, necklace length 42cm, bracelet length 19.3cm each, brooch/pendant length 5.6cm, ear pendants length 3.9cm (5)Condition report: Amethysts have slightly variable light to mid pinkish-purple hues, all with surface scuffs, scratches and nicks/small chips. The amethysts have mostly good transparency, some stones containing fracture inclusions, 'tiger stripes' and faint whiteish colour zoning. Amethysts that are foil-backed have a more pinkish hue, patchy in places, due to the coloured foil. Amethysts graduate in the necklace from approx. 19.5mm length x 16mm width x 9.5mm depth down to 11.5mm length x 10.8mm width (depth unknown). Amethysts graduate in the bracelets from approx. 13.5mm length x 10.5mm width x 5.2mm depth down to 10.8mm length x 8.5mm width (depth unknown). The largest amethyst in the brooch/pendant measures approx. 18mm length x 12.2mm width x 7.2mm depth. The largest amethyst in the ear pendants measures approx. 20.5mm length x 10.8mm width x 7.2mm depth (this is slightly larger than the other pear-shaped amethyst drop).The settings to the ear pendants are slightly different in style and slightly more yellow in hue, and so appear to be matched to the other pieces. The settings and mounts in all pieces have surface wear, scuffs, nicks and chips, commensurate for age and use, with patchy thinning and occasional small losses to the edges of the settings, and areas of porosity in some places. Some of the mounts have visible solder joins which may be as a result of repair. There are shallow dings to the backs of the clasps. The mounts are untested and unmarked, but appear to be gold. The later replaced tongue fitting to the necklace is gilt metal. The fittings are all currently functioning.Approximate gross weights: necklace 66.2gm, bracelets combined 41.3gm, brooch/pendant 20.8gm, ear pendants 8.7gm.
Los 304
A 9ct gold hunter pocket watch, the engine-turned silvered dial with Roman numerals and subsidiary seconds dial, to a keyless wind movement signed Marvin, the case with Glasgow import marks for 1929, numbered 812219, accompanied by a belcher-link long chain with swivel clasp, stamped '9C', watch case diameter 4.7cm, chain length 152cmCondition report: Watch: scuffs, spotting, dust residue and patchy light tarnishing to dial. Patchy small losses to finish on numerals, scuffs to glass. Movement currently runs when wound but is untested for working order, which cannot be guaranteed. Scratches, scuffs, nicks and chips throughout case, with a pinpoint-shaped ding to one side and knife marks to the case sides. Hinges are functioning and the covers close fairly tightly. Gross weight approx. 56.7gm. Chain: considerable wear throughout, thinning at the junctions between links, one link is broken. Some links have solder repairs. The clasp is double ended and functioning. Gross weight approx. 16.5gm.
Los 172
A jade and diamond cluster ring, the oval jadeite cabochon claw set within a border of round brilliant-cut diamonds, white precious metal mounted, stamped '14K', (jade untested for treatments), total diamond weight approximately 0.80ct, ring size HCondition report: The jadeite cabochon has mottled colouration, mostly light to mid-green with darker areas to one end, and measures approx. 15.5mm length x 11.5mm width x 4.2mm depth. The cabochon has scuffs, nicks, surface-reaching fractures and an 'orange peel' appearance to the surface. One section of the cabochon has a linear edge, rather than curved, and so doesn't follow the usual oval outline - this is possibly original to the stone. Diamonds are well matched, bright and lively, with estimated VS1 to SI1 clarity and H to J colour, assessed mounted. The ring mount has scuffs, scratches, nicks and chips throughout, commensurate for use, with areas of porosity to the inside. Metal standard is untested. Gross weight approx. 7.3gm.
Los 199
An 18ct two colour gold collar necklace, designed as a series of repeating tonneau-shaped panels of brushed finish, with bar-shaped spacers between, length approximately 42 - 45cmCondition report: Light surface wear, scratches, scuffs and nicks throughout, commensurate for use. Clasp is functioning. Hallmark has light wear. Gross weight approximately 53.7gm.
Los 288
A 'Constellation' automatic wristwatch by Omega, the circular gilt dial with black baton markers, date display and centre seconds hand, to a calibre 561 automatic movement, numbered 17454877, the case stamped '18K 0,750', with Swiss gold marks, numbered 14393/4 SC 9, dial, movement, case and winder signed, on an unassociated strap, case width 3.35cmCondition report: Light surface wear and dust residue to dial, diameter of dial approx. 2.85cm. Heavy scuffs, scratches, nicks and chips throughout glass and case, some deep tool marks to case back and base of shoulders. Deep chip to winder. Case may require professional re-polishing. The movement is not currently running and requires repair. Strap is heavily worn.
Los 120
A peridot and diamond dress ring, the oval mixed-cut peridot claw set between pierced and millegrained shoulders of round brilliant-cut diamonds, 18ct two colour gold mounted, ring size L½Condition report: Of modern manufacture, with light surface wear, scuffs, nicks and faint tarnishing to the mount, commensurate for occasional use. Hallmarks are clearly struck, maker's mark 'KC'. Light surface wear and occasional nicks/small chips to the peridot, which has a fairly vibrant yellowish-green hue and contains pale fracture inclusions, measuring approx. 9.6mm length x 7.6mm width x 4.9mm depth. Diamonds are well matched, bright and lively. Gross weight approx. 3.3gm.
Los 248
A pair of chalcedony and diamond cufflinks, each circular cabochon chalcedony bordered by single-cut diamonds, white precious metal mounted, total diamond weight approximately 0.48ct, panel diameter 1.3cmCondition report:Surface wear, scuffs, light scratches and nicks to the cabochons and mounts, commensurate for use. One of the cufflinks has two fine splits to the fitting. The cabochons have a bluish shimmer to a greyish/whiteish ground and measure approximately 8.5mm in diameter and 5mm in depth. Diamonds are well matched, bright and lively, occasional stones with small nicks/chips, the remaining diamonds with estimated VS2 to SI2 clarity and H to K colour, assessed mounted. Metal standard is untested. Gross weight approx. 8.5gm.
Los 188
A sapphire and diamond pendant necklace, designed as a crescent-shaped panel with central cluster, the principal cushion-shaped sapphire bordered by old and single-cut diamonds, between channels of alternating similarly cut sapphires and diamonds, adapted with a later trace-link back chain stamped '9C', total diamond weight approximately 0.45ct, pendant width 4.2cm, necklace length 46cmCondition report: Sapphires are well matched, of mid purplish-blue hues, with good transparency and areas of whiteish colour zoning visible under magnification. One of the smaller outer sapphires is chipped, the remaining sapphires have light facet edge abrasion. Largest sapphire dimensions approx. 5mm length x 4.5mm width x 2.5mm depth. Diamonds are mostly well matched, bright and lively. One of the smaller outer diamonds is chipped, the remaining diamonds have estimated VS2 to SI2 clarity and H to K colour, assessed mounted. Length of central cluster approx. 9.5mm. The crescent has surface wear, scuffs, nicks and patchy tarnishing/firestaining, with wear to the tips and edges of the settings. Some of the claws may require re-tipping. The crescent is likely to originally have been a brooch and has been adapted as a necklace with a later added chain. The chain has light surface wear and the clasp is functioning. Metal standard is untested. Gross weight approx. 9.3gm.
Los 166
A pair of sapphire and diamond cluster ear clips, each centred with a cushion-shaped mixed-cut sapphire in claw setting, bordered by round brilliant-cut diamonds, on hinged clip fittings, yellow precious metal mounted, total diamond weight approximately 1.40ct, length 1.85cmCondition report: Sapphires are well matched, of very dark greenish-blue hues with areas of colour zoning and fractures/fissures visible under magnification and transmitted light. Some of the fractures/fissures are surface-reaching and both sapphires have chips, scuffs and scratches to the surface. Sapphires measure approximately 11mm length x 10.5mm width x 7.1mm depth and 10.8mm length x 10.1mm width x 6.25mm depth respectively. Diamonds are well matched, bright and lively, with estimated VS1 to SI2 clarity and H to J colour, assessed mounted. The mounts have surface wear, chips and nicks throughout, with patchy wear to the tips of the claws. The hinged clips are functioning. Both clips have indistinct stamped marks. Metal standard is untested. Gross weight approx. 14.8gm
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534297 Los(e)/Seite