80914 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Sekonda, a gilt metal manual wind date gentleman's wristwatch, 34mm, two Sekonda quartz wristwatches and a Citizen automatic wristwatch

Three boxes of mid 20th century and later mantel clocks, to include Smiths Westminster chime examples, having manual and quartz movements. (3)

A collection of mantel clocks, carriage clocks and anniversary clocks, with manual wind and quartz movements. (3)

A collection of mid 20th century and later mantel clocks, to include traveling alarm clocks and miniature novelty clocks, having manual wind and quartz movements. (3)

A collection of mid 20th century mantel clocks and barometers, together with traveling alarm clocks and miniature novelty clocks, having manual wind and quartz movements. (4)

A collection of carriage clocks and anniversary clocks, together with a selection of wall barometers, Circa 1950s - 1980s, having manual wind and quartz movements. (4)

A collection of mid 20th century and later mantel clocks, lantern clocks and carriage clocks, having manual wind and quartz movements, to include Smiths bakelite example's.(4)

A collection of manual wind and quartz clocks, to include traveling alarm clocks and miniature novelty clocks (boxed) (4)

A collection of carriage clocks, mantel clocks, miniature novelty clocks and wall barometers, having manual and quartz movements. (4)

A collection of early 20th century and later mantel clocks, having manual and quartz movements, together with a selection of wall barometers. (4)

Two boxes of mid 20th century and later clocks, to include traveling alarm clocks, quartz miniature novelty and manual wind mantel clocks. (2)

An early 20th century German alarm clock by Junghans Württemberg, chased metal case, with manual wind movement playing to musical alarm.16cm tall.

A collection of early 20th century and later mantel clocks and barometers, to include mahogany cased manual wind examples, Smiths bakelite Westminster chime, together with later quartz clocks. (4)

A Lady's 9 Carat Gold Wristwatch, signed Omega, 1972, manual wound lever movement, Omega 9 carat gold textured integral braceletGross Weight:-18.7 grams

A 9 Carat Gold Omega Wristwatch, manual wound lever movement

A collection of vintage cameras, to include one Yashica FX-3 Super 2000 camera in a blue bag with manual; one Kodak Vigilants camera with a brown leather case; one black kodak case containing camera and one boxed Yashica FX-D Quartz camera with manual (4)

William Cavanagh Furnival (1884-1966) - pen and ink cartoon 'Heysham Golf Club' 32cm x 26cm, another of the Lancashire coast, Daily Express war map of Europe, German torpedo manual 1884 and other ephemera

A RARE WHITE GLAZED 'TOAD' WATER DROPPER, JOSEON DYNASTYKorea, 19th century or earlier. Modeled as a squatting toad with forelegs pressed together, an octagonal opening at the back and a small hole pierced at the mouth, the surface with white, raised bosses suggestive of the knobby skin of a toad, the eyes highlighted in a dark turquoise glaze, the base unglazed. Provenance: The Antique Square, Hong Kong, the 1980s-1990s. A private collection in the United Kingdom, acquired from the above. An undated brochure from the Antique Square is accompanying this lot. Note that this brochure bears a manual inscription, where the present lot is erroneously described as Chinese. Condition: Very good condition with minor old wear, some traces of usage and manufacturing flaws including small fire cracks.Weight: 55.4 g Dimensions: Length 7 cmWith a padded silk box and cover. (2) Literature comparison:Compare a related toad-form water dropper, illustrated in Byung-Chang Rhee, in Masterpieces of Korean Art - Yi Dynasty Ceramics, Tokyo, 1978, pl. 445, page 390. Compare a related toad-form water dropper, illustrated in Seo Hyowon, Bunwon Porcelains / Late Joseon Blue and White, Gyeonggi, Gyeonggi Ceramics Museum, 2009, no. 60.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 22 September 2020, lot 246Price: USD 22,500 or approx. EUR 24,500 converted and adjusted for inflation at the time of writingDescription: A white porcelain toad-form water dropper, Joseon dynasty (19th century)Expert remark: Compare the closely related form, glaze, and decoration. Note the size (8.5 cm).朝鮮王朝罕見白釉蟾蜍水丞韓國，十九世紀或更早。造型獨特，水丞堆塑蟾蜍狀，前腿併攏，背部有一個八角形開口，嘴部有一個小孔，表面有白色凸起，如蟾蜍一般，眼睛通過深綠松石色釉突出，底座未上釉。 來源：香港古玩廣場，上世紀八十至九十年代；英國私人藏家購於上述藝廊。隨附一本來自香港古玩廣場的未註明日期的小冊子。 請注意，這本小冊子有手寫文字，並錯誤地將此拍品描述為中國古董。 品相：狀況非常好，有輕微的磨損，一些使用痕跡和製造缺陷，包括燒製小裂紋。 重量：55.4 克 尺寸：長7 厘米 絲襯蓋盒 (2) 文獻比較： 比較一件相近的蟾蜍水丞，見Byung-Chang Rhee，《Masterpieces of Korean Art - Yi Dynasty Ceramics》，東京，1978年，圖445，頁390。比較一件相近的蟾蜍水丞，見Seo Hyowon，《Bunwon Porcelains / Late Joseon Blue and White》，京畿道，收藏於Gyeonggi Ceramics Museum，2009年，編號60。 拍賣結果比較： 形制：非常相近 拍賣：紐約佳士得，2020年9月22日，lot 246 價格：USD 22,500（相當於今日EUR 24,500） 描述：王朝十九世紀白釉蟾蜍水丞 專家評論：比較非常相近的外形、釉面和裝飾。請注意尺寸(8.5 厘米)。

A LONGQUAN CELADON ARROW VASE, TOUHU, SOUTHERN SONG DYNASTYChina, 1127-1279. Delicately potted, the pear-shaped body supported on a short tapered foot and rising to a long slender neck flanked by a pair of tubular handles. Covered overall in a rich vitreous glaze of soft sea-green color, save for the unglazed foot rim revealing the ware burnt to orange in the firing.Provenance: The J. M. Hu, Zande Lou Collection. Jenmou Hu (1911-1995) was arguably the most important collector of Chinese ceramics in the last century. In both his personal collection and in his bequests to cultural institutions, J. M. Hu stood as a model of the modern scholar-collector. The eldest son of the influential banker Hu Chun, he was raised in an elegant private residence amongst his many stepbrothers and stepsisters. In keeping with tradition, he was given a rigorous background in the Chinese classics, supplemented by a Western-style education. He first encountered Chinese ceramics during his student years, when he purchased a nineteenth-century brush washer for his desk. This initial foray into collecting would become emblematic of J. M. Hu's poignant relationship with art: even amidst the upheavals of war and the evolution of his collection, the modest brush-washer stayed with him until his death in 1995. Hu's boyhood studies within the Chinese literati tradition greatly informed his philosophical approach to life and collecting; humble and erudite, he consistently affirmed that it was the visceral connection between a collector and his acquisitions that was of essential importance. True value, in J. M. Hu's estimation, lay far beyond monetary worth. A noted traditionalist, he went to great lengths designing wooden stands and fitted boxes to preserve and display his Chinese treasures and delighted in sharing the collection with fellow connoisseurs. For J. M. Hu, collecting was a serious, scholarly pursuit not to be taken lightly. The joy of art came with a responsibility to honor both the artist and the object. Hu often spoke of the three necessary criteria in collecting: zhen (authenticity), jing (rarity and quality), and xin (condition). Yet it was an individual's bond with a work of art, as evidenced in J. M. Hu's beloved brush washer, that was of fundamental significance. In handling and examining his ceramics, Hu sought that indefinable delight that could come only from the beauty of artistry. In the tradition of Chinese literati who bestowed symbolic monikers upon their studios, libraries, and collections, the name of J. M. Hu's studio, Zande Lou, referenced the influential Lanting Xu of the famed Jin dynasty calligrapher Wang Xizhi, a text that describes Zande as a person's inner happiness. Although J. M. Hu intended the meaning of Zande to express this fleeting happiness, which he experienced as a collector when examining an object, the word has also come to be interpreted as the inherently transitory nature of collecting and possessing fine art. J. M. Hu's collection of Chinese ceramics provided abundant opportunity for personal scholarship and historical investigation. As early as the 1940s, he longed for a welcoming social environment where like-minded collectors could share and discuss art and objects. Two decades later, he established the Min Chiu Society in Hong Kong alongside fellow collectors K.P. Chen and J.S. Lee. A noted cultural philanthropist, J. M. Hu gifted substantial groupings from his collection to the Shanghai Museum in 1950 and again in 1989. Many of these objects remain on view in the museum's Zande Lou Gallery. To this day, J. M. Hu remains a celebrated figure amongst collectors of Chinese art.Condition: Excellent condition with expected old wear and minor firing irregularities, including glaze recesses and other minuscule glaze faults. The neck is slightly leaning. The unglazed areas of the ware burnt to orange in the firing.Weight: 149.2 gDimensions: Height 12.3 cmThe form of this vase is based on arrow vases, or touhu, the primary accessory of a drinking game which involved throwing all of one's arrows into the mouth of the vessel. The loser was assessed a penalty drink for every errant throw. This game had been popular among elite men and women from the Spring and Autumn period (770-476 BC) onwards. In line with emerging trends of antiquarianism and archaism, the game was revived during the Song dynasty and touhu vases, made in various materials including bronze, cloisonne, and ceramic, remained popular throughout the Ming dynasty and later.Elaborate rituals and intricate rules, recorded in the Li Ji (Book of Rites), added further complexity to the game. Puzzling pitching techniques were described in the Touhu Yijie (Ceremonial Usages and Rules of Touhu), an illustrated manual written by Wang Ti (1490-1530), and these shots were given fancy names, like 'A Pair of Dragons Enters the Sea' when two arrows were thrown from a great height at once into the vase. The touhu game was used to practice archery, one of the essential accomplishments of a gentleman. Later in the Ming era, the game became more widespread and was played by rich merchants as well as the aristocracy and scholarly elite. A scene in the famous late Ming novel Jin Ping Mei (Plum Blossom in the Golden Vase), written in 1619, describes the wealthy merchant Ximen Qing's seduction of his concubine Panjinlian. She becomes inebriated while playing touhu on a picnic and the game leads to an amorous encounter. For a further discussion of the game see Isabelle Lee, 'Touhu: Three Millennia of the Chinese Arrow Vase and the Game of Pitch-pot', Transactions of the Oriental Ceramic Society, vol. 56, 1991-2, pp. 13-7.Too small to actually be used in the drinking game, the present vase was probably intended to hold a single branch, a small flower, or an incense stick.Literature comparison: A pair of related Longquan arrow vases, of slightly larger size and with wider necks, was recovered from the tomb of the Yuan calligrapher Xian Yushu (1251-1302), see Zhang Yulan, Hangzhoushi faxian Yuandai Xian Yushu mu, Wenwu, 1990:9, page 24, figures 11-12. A similar vase was included in the exhibition, The Scholar as Collector: Chinese Art at Yale, Yale University Art Gallery and China Institute in America, New York, 2004, page 18, figure 8.Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1081 Price: USD 27,720 or approx. EUR 26,000 converted at the time of writing Description: A Longquan celadon 'arrow' vase, Southern Song dynasty Expert remark: Compare the related pear-shaped form and soft sea-green glaze. Note the size (16 cm).Auction result comparison: Type: Related Auction: Christie's New York, 25 March 2022, lot 1033 Price: USD 119,700 or approx. EUR 113,000 converted at the time of writing Description: A small Longquan celadon bowl, Southern Song dynasty Expert remark: Compare the almost identical vitreous sea-green glaze and the similarly designed foot rim, also burnt to orange in the firing. Note that this bowl was previously also in the J. M. Hu Collection.南宋龍泉青瓷投壺中國，1127-1279年。胎體緊密，細長頸，頸部有對稱貫耳，豐腹下垂，圈足。通體覆蓋著柔和的青釉，足緣露胎，在燒製中成橙色。

'PLUM BLOSSOMS', BY QI BAISHI (1864-1957), DATED 1923China. Ink on paper, with a Japanese silk brocade mounting. Exquisitely painted with a flowering plum tree in the winter, the branches and twigs mostly upright with few hanging down, the blossoms and buds neatly detailed, the thicker branches executed with bold, dynamic brushstrokes.Inscriptions: Lower left, signed 'Baishi weng' (old man Baishi), inscribed 'The winter plum blossoms and the rest of the year, a thousand-year friendship with the rest of the year', and dated 'in the Winter of the Year of Guihai' (corresponding to 1923). The last character (託) indicates that this work was painted by Qi Baishi in order to entrust it to the recipient.Provenance: Kono Shuson, Japan, acquired directly from the artist. A private collection, acquired from the above, and thence by descent. The back with an old Japanese paper label from Kono Shuson, stamped and inscribed 'Dai yonhyaku-ju-roku-go, Sai Hakuseki sensei, Kono Shuson sei' (Number 416, Painting of Winter Plum Blossoms by Master Qi Baishi, compounded by Kono Shuson). Two further paper labels, each inscribed '7541'. Kono Shuson (1890-1987) was a Japanese painter and a pivotal figure in promoting the Nanga (Chinese literati) school of paintings in Japan. With Tomioka Tessai (1836-1924) as a consultant, he founded the Nihon Nanga-in (Japan Literati Painting Academy) and visited China frequently, including his first documented visit in 1923, the year the present work was painted. This is when he probably met Qi Baishi for the very first time, shortly after Qi's initial exhibition in Japan (see lot essay below). He then began to import Qi Baishi's works to Japan, together with the paintings of other contemporary Chinese artists, selling them at the Takashimaya Department Store and other notable places. He always mounted such paintings on Japanese kakejiku scrolls. For a work bearing a similar label from Kono Shuson, see for example Bonhams Hong Kong, 2 March 2022, lot 29, by Zhang Daqian (1899-1983), Scholar under Willow Tree. Condition: Good condition with some wear, soiling, and few minor abrasions.Dimensions: Image size 106.5 x 56 cm, Size incl. mounting 144 x 68 cmQi Baishi painted plum blossoms in several styles, including copies of those painted by Jin Nong (1687-1763), which the present lot shares some affinities with, including the absence of colors. Qi Baishi's later plum paintings are primarily inspired by Wu Changshuo (1844-1927), who preferred bright colors and introduced an epigraphic aesthetic to the art of painting. Here however, Qi depicts the plum tree with its upward trunk and branches in calligraphic strokes of somber ink. The present painting can therefore be said to reflect an earlier style in painting plum blossoms for Qi Baishi, whose earliest works depicting this subject are dated by inscription to the year 1921, two years before the present work was executed. Qi's paintings are, first of all, reflections of things and feelings that he had personally experienced in life. In the case of plum blossoms, his fondness of this subject resulted from nostalgia for his hometown in Hunan, where his dwelling, named 'Studio of Hundred Plums', was surrounded by a plum grove.Qi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Qi Baishi moved to Beijing in 1916 and earned his living there by selling paintings. However, his painting style was not welcome in Beijing at that time. Taking the advice of Chen Shizeng, Qi Baishi began his famous "initiating self-art-reform in senile age", which finally led Qi Baishi to tremendous success. In 1922, Chen Shizeng visited Japan. He brought some works by Qi Baishi for exhibition and sale. This was the first time that Qi Baishi's paintings were shown in Japan, and anywhere outside China. It is probable that Kono Shuson (the first owner of the present work) saw Qi's work at this exhibition and was inspired to make his first trip to China less than a year later in 1923, meeting with the master for the first time. As recalled by Qi Baishi: “After Chen Shizeng returned to Beijing, I was told that all my paintings sold at very nice prices! Each of my paintings sold for at least 100 silver coins, and the landscape paintings were even more expensive, 250 silver coins for one that was only 60 inches long! I never imagined such prices in China! And I was also told that the French planned to exhibit my works and those of Shizeng in the Paris Art Expo. The Japanese were going to film my life and work for a movie! All this was just amazing! Afterwards, many foreigners came to Beijing to purchase my paintings, and I have been better off since then. It was Shizeng who helped me in my career and life - I will remember this forever.” (Baishi Laoren Zishu, Shandong Huabao Publishing House, 2000, pp. 131-133)Auction result comparison: Type: Related Auction: Beijing Council International Auctions, 4 December 2013, lot 984 Price: CNY 632,500 or approx. EUR 110,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, The ink plum blossom (1923)Expert remark: Compare the related manner of painting with mostly upright branches and using only ink. Note that the work was painted in the same year (1923) as the present lot. Auction result comparison: Type: Related Auction: Poly International, Beijing, 17 December 2017, lot 1930 Price: CNY 862,500 or approx. EUR 142,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi, Plum blossom (1924) Expert remark: Compare the related manner of painting, also using only ink, but with more hanging branches than the present lot. Note that the work was painted one year later (1924) than the present lot.Auction result comparison: Type: Related Auction: Christie's New York, 9 December 2020, lot 48 Price: USD 18,750 or approx. EUR 20,500 converted and adjusted for inflation at the time of writing Description: Qi Baishi (with signature of, 1863-1957), Plum BlossomsExpert remark: Note the much smaller size (26.5 x 19 cm) of this work and the low estimate of only USD 300-600, which was clearly overruled by the market, with bidding eventually ending at USD 18,750.1923年齊白石款《寒梅圖》

'WISTERIA', BY QI BAISHI (1864-1957)China. Ink and watercolors on paper, with a silk brocade frame and mounted as a hanging scroll. Virtuously painted with a cluster of wisteria leaves hanging from a twisting vine further issuing leafy stems in variegated shades of green, executed with bold and vivid brushstrokes.Inscriptions: Baishi shanweng Huanghun zuo (old man Baishi painted this at dusk). One seal of the artist 'Qida'.Provenance: From the collection of Hazel Elfwendahl, and thence by descent in the family. Hazel Elfwendahl (1923-2018) was the wife of Bo Elfwendahl (1928-2004), Vice Consul at the Royal Swedish Consulate in Hong Kong between 1957 and 1962. While in Hong Kong, she took great interest in and developed a deep understanding of Chinese art, perusing painting and calligraphy studies for the Lingnan School master Chow Leung Chen-Ying (1921-2005). She also befriended several noted Hong Kong art collectors. Note that another work by Qi Baishi from the collection of Hazel Elfwendahl, Pumpkins, was sold at Bonhams London, 3 November 2022, lot 212, for GBP 44,400 or EUR 50,700 (converted at the time of writing).Condition: Excellent condition with minor wear and little soiling.Dimensions: Image size 66.5 x 32.5 cm, Size incl. mounting 132.5 x 41.4 cmQi Baishi (1864-1957) is one of the world's most important artists of the 20th century and has received countless honors and awards like no other painter in the People's Republic of China. He began his career as a carpenter, though he taught himself to paint using a manual from the Qin dynasty period. His style, which Qi Baishi developed in the second half of his life, is characterized by a powerful, spontaneous brushstroke. He expanded his subject matter to insects, birds, figures, animals, vegetation, and landscapes, and began to incorporate rich color into his compositions, painting in an ever-freer style. His works are focused on the spiritual, ephemeral, and mystical qualities of the human condition. In 1953, he was elected president of the China Artists Association, and one year later he was elected to the National People's Congress.Literature comparison:Compare a related painting of Wisteria by Qi Baishi, dated ca. 1930, exhibited in the Noguchi Museum, Isamu Noguchi and Qi Baishi: Beijing 1930, 25 September 2013 to 26 January 2014.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 1 June 2021, lot 878 Price: HKD 565,000 or approx. EUR 68,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the closely related subject, executed with bold and vivid brushstrokes. Note the similar size (67.5 x 33.2 cm). Auction result comparison: Type: Related Auction: Christie's New York, 18 March 2015, lot 303 Price: USD 81,250 or approx. EUR 93,000 converted and adjusted for inflation at the time of writing Description: Qi Baishi (1864-1957), WisteriaExpert remark: Note the smaller size (33 x 44.4 cm).齊白石(1864-1957)《紫藤》中國，紙本水墨設色，掛軸。白石老人畫藤如蛇，幾串紫藤開得奼紫嫣紅，在紫藤的一片熱鬧中，幾筆縱橫交錯的藤，顯得畫面更富有層次。 款識：白石山翁黃昏作；鈴印：齊大 來源：Hazel Elfwendahl收藏，保存在同一家族至今。Hazel Elfwendahl (1923-2018年) 是Bo Elfwendahl (1928-2004)的妻子，她於1957年至1962年任瑞典皇家駐香港總領事館副領事。在港期間，她對中國藝術產生濃厚興趣，拜師與嶺南派大師梁粲纓研習書畫（ 1921-2005）。她還結識了幾位著名的香港藝術收藏家。請注意Hazel Elfwendahl 收藏的齊白石另一幅作品《南瓜》，2022 年 11 月 3 日售於倫敦邦瀚斯，lot 212，售價為 GBP 44,400（或相當於今日EUR 50,700）。品相：狀況極佳，輕微磨損，輕微汙漬。 尺寸：畫面66.5 x 32.5 厘米，總132.5 x 41.4 厘米 文獻比較： 比較一件相近的約1930年作齊白石《紫藤》，展覽於Noguchi Museum，《Isamu Noguch and Qi Baishi: Beijing 1930》，2013年9月25日至2014年1月26日。 拍賣結果比較： 形制：非常相近 拍賣：香港邦瀚斯，2021年6月1日，lot 878 價格：HKD 565,000（相當於今日EUR 68,000） 描述：齊白石《紫藤》，設色紙本鏡框 專家評論：請注意非常相近的主題，以及以大膽而生動的筆觸。請注意相似的尺寸(67.5 x 33.2 厘米)。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2015年3月18日，lot 303 價格：USD 81,250（相當於今日EUR 93,000） 描述：齊白石《紫藤》 專家評論：請注意尺寸較小(33 x 44.4 厘米)。

Valentino.- Chitolina (Armando) & Matt Tyrnauer. Valentino: A Grand Italian Epic, Cologne, 2009 § Pellé (M.-P.) & Patrick Mauriès. Valentino: Thirty Years of Magic, New York, 1990 § Golbin (Pamela) Valentino: Themes and Variations, New York, 2008 § Valentino's Red Book [&] Fashion Photocopy Manual 1960-00, together 2 vol., original cloth and original wrappers, with facsimile newspaper together in original cloth drop-back box with patterned boards mounted on covers and sides, New York, 2001, illustrations, many colour, all but the first original cloth or boards with dust-jackets; and another on Valentino, 4to (5)

A circa 1960 Longines 9ct gold manual wind wristwatch, 33mm, cal 12.68ZS, Serial No. 11073354, hallmarked Birmingham 1960, on replacement leather strap. (engraved presentation to rear), boxed.

A circa 1958 Longines 9ct gold manual wind wristwatch, 34mm, cal. 12.68Z, Serial No. 10864314, hallmark London 1958, on later Hirsch leather strap, boxed.

A vintage Omega manual wind ladies wristwatch, 17mm, on replacement leather strap, boxed.

A vintage Montine yellow metal manual wind ladies wristwatch, 17mm, stamped 375/9k.

A vintage gold-filled manual wind ladies wristwatch, 26mm, on expanding bracelet stamped 9ct.

A vintage Rotary gold plated Rotary manual wind wristwatch, 27mm, on brown leather strap, boxed; together with similar ladies wristwatch, 20mm. (2)

A Vertex 'Dirty Dozen' manual wind military wristwatch, 36mm, Cal. 59, stamped 'WWW A13570-3526486', on later leather strap.

A 9ct gold manual wind ladies wristwatch, on brown leather strap.

An Excalibur 9ct gold manual wind ladies wristwatch, 15mm.

Omega Speedmaster stainless steel, manual wind chronograph wristwatch, circa 1966, Ref. ST 105.003-65 Cal. 321, serial No. 24013255, black dial with subsidiary dials at 3, 6 and 9 for constant seconds, 30 minute and 12 hour recording, decimal bezel, on stainless steel strap with fold-over clasp, boxedCondition Report:Movement currently functioning and clean, push buttons functioning, when bottom button pushed the sweep back seconds and 30 minute recording jump back to 12, the 30 minute recording jumps back just before 12, hands moving freely, original crown, bracelet and clasp good, no papers, few light scratches to acrylic cover, bezel generally good with some very very light wear - not detrimental, hands luminosity is different colour to the hour markers batons colour indicating replacement hands, some rust to hands predominantly to top of seconds hand, dial good, some scratches to back case, loss to luminosity in hands, bracelet probably not original to watch Omega replacement

Omega gentleman's 9ct gold manual wind wristwatch, Ref. 331/2541, Serial No. 25106582, Cal. 613, silvered dial with date aperture, case hallmarked London 1968, on 9ct gold strap, hallmarked, boxed with papersCondition Report:Approx 36.05gm (ex movement and front cover - gold weight only), bracelet also hallmarked - non magnetic, movement currently functioning and clean, dial good, original crown, few light scratches to acrylic cover, case diameter - 33mm 9excluding crown), hands moving freely

Lemania British Military Royal Navy Nuclear Submarine single button manual wind chronograph wristwatch, circa 1960's, 17 jewel movement, Cal. 2220, serial No. 1808479, case makers mark HF, issue markings 0552/924-3312 ^ 81169Condition Report:Movement functioning, but sometimes stops when press stop/start function, contentious seconds ticking when wheel functioning but the stop start centre seconds not functioning, movement slight greasy - perhaps been cleaned with oil based substance, case diameter = 37mm (excluding crown), dial generally good some spots - look like grease - perhaps would wipe off, some very very light marks around the edge of the dial, cover with scratches,

Omega 9ct gold ladies manual wind wristwatch Cal. 1100, case hallmarked London 1978Condition Report:Approx 25.15gm (excluding movement), movement currently functioning and clean

Omega 9ct gold ladies manual wind wristwatch Cal. 483, case hallmarked London 1963Condition Report:Approx 16.3gm excluding movement, movement working and clean

Omega 9ct gold ladies manual wind wristwatch, London 1966, on 9ct gold bracelet, boxedCondition Report:Approx 21.65gm (excluding movement), bracelet stamped 9.375 non magnetic, movement currently functioning and clean, dial marked, case diameter = 1.7cm excluding crown, hands moving freely, small nick to bracelet near face, bracelet length = 16.5cm

Tissot 9ct gold ladies manual wind wristwatch, London import mark 1972Condition Report:Approx 21.55gm (excluding movement), bracelet also hallmarked 9ct - non magnetic, movement currently functioning, some discolouration to dial

Rotary 9ct gold ladies manual wind wristwatch, hallmarkedCondition Report:Approx 14.2gm (excluding movement), bracelet also hallmarked 9ct - non magnetic, movement not working

Rotary Elite 9ct gold ladies quartz bracelet wristwatch, Avia 9ct gold manual wind wristwatch and one other 9ct gold wristwatch, on gilt expanding strapCondition Report:Rotary approx 15.8gm (including movement) bracelet clasp broken, tested 9ct and non magnetic - movement not tested, other two approx 25.9gm gross, including movement and bracelet)

Rotary 9ct gold ladies manual wind bracelet wristwatch, hallmarked and an Avia 9ct gold wristwatch, on gold-plated expanding strapCondition Report:Rotary (excluding movement) and back case of Avia only approx 10gm, Rotary bracelet also hallmarked 9ct (non magnetic), movements not working

Early 20th century Vertex 9ct gold manual wind half hunter wristwatch, white enamel dial with subsidereary seconds dial, the inner dust cover engraved 'J.W Hankin 15.1.34', case by Stockwell & Co, London import mark 1933, on black leather strapCondition Report:Approx 24.8gm gross, inner dust cover also hallmarked 9ct, movement currently functioning and clean, dial good - very very slight brown mark in subsidereary seconds dial - not detrimental, hands movement freely, case diameter = 30mm (excluding crown)

Early 20th century 15ct gold three stone old cut diamond crossover ring, gold cameo brooch, gold ladies manual wind bracelet wristwatch and flag charm, all 9ct, silver ballerina pendant necklace and one other necklaceCondition Report:15ct diamond ring approx 2.45gm, size O, shank very very slightly twisted - not detrimental, diamonds bright with inclusions, tested 15ct, wristwatch and flag approx 9.85gm (excluding movement), bracelet also 9ct - non magnetic, brooch approx 7.15gm

9ct jewellery including gold garnet cluster ring, pair pearl earrings, opal ring and single hoop earring, Omega manual wind wristwatch, Seiko 5 automatic wristwatch and silver jewelleryCondition Report:9ct approx 8.1gm gross, garnet ring size M, slight scratches to stones, opal ring bent, Omega not working - missing crown, Seiko is working, scratches to cover

Rolex - Gentleman's Oyster Perpetual automatic stainless steel wristwatch ref:116200, signed black dial with smooth bezel, stainless steel partially filled hands and white luminous baton hour markers, outer seconds track in white with Roman numerals, screw-down crown, screw-down case back, serial no:D609***, 37mm diameter (ex.crown), on a Rolex stainless steel bracelet, together with case, outer card box and sleeve, red seal Oyster Swimpruf tag, two spare bracelet links, green wallet, original guarantee dated 20/5/06, 2006/2007 calendar and manual

Omega, a ladies steel Omega wristwatch, 2cm circular champagne dial with baton numerals, manual wind with Omega branding to the crown, black leather strap

Rotary, a 9 carat gold ladies wrist watch, on gold bracelet strap, 21 jewel manual wind movement, 16mm wide, 14.8g

A 'Fangzi Teaching Method' examination game. With manual and revision cards, original pictorial car box, [c.1920]Provenance: From the estate of William Arthur Blackburn Leach.DOB: 2nd Jan 1872.Leach was born in Norwich where he attended a local grammar school, later becoming an apprentice carpenter and engineer. In 1902 after he had qualified, he went to China where he obtained a position in the Public Works Department of the Shanghai Municipal Council. He spent his working life in Shanghai until he left in 1926.During his time in China he held interests in a Christian Mission school and helped to support street children.He seized every opportunity to visit other parts of China and took thousands of photographs. He purchased widely on his travels, particularly woodcarvings, bronzes, traditional kimonos, paintings and porcelain. He treasured silver items and bought much to take home. He travelled home at least four times during his stay in China and these return visits were round-the-world trips in which he travelled through and visited Europe, Russia, the Middle East, Egypt and The Holy Land, the Far East, Canada and USA.On his return to the UK he lived in Northampton where he was a lay preacher and a local councillor. He gave a great many talks on his experiences in China and the many other Countries he had visited.He died in 1962.

Heuer Autavia 2446C Mark 1 Compressor Case Tachymeter - 1968 Few brands excite the sophisticated vintage collector more than Heuer does. While the modern iteration of the Brand, Tag Heuer, caters to the entry level segment of the market the Heuer of old was at the top of their game at the time and second to none.The watch we present to you today is one of the very finest examples of 1960s watchmaking. The name "Autavia" is derived from the words automotive and aviation, and it is in the former segment that Heuer dominated. If you wanted a racing chronograph in the sixties and seventies then Heuer was your brand of choice. After all Steve McQueen, Niki Lauda, and Jochen Rindt can't all be wrong when choosing their watch of choice.This specific model is a reference 2446 Autavia with the compressor case. This watch is from 1968, the year this model got introduced, and has the Mark 1 dial which can be identified by the smaller teeth on the bezel not having any red accents.Driving this Autavia is the legendary Valjoux 72 movement which is a legend in its own right having been housed in such watches as the Navitimer and the Daytona. The manual wound three register chronograph works perfectly, is a joy to operate, and a pleasure to work on.At 40,5 mm in diameter it wears like a modern watch but has the patina to back up its vintage heritage. The recent revival of this model is only a testament to its timeless design. The fact that this Autavia has the rare tachymeter bezel is the cherry on top to make this the perfect vintage racing watch.

Olympia manual typewriter in case, which appears to be in good condition

Olympia manual typewriter, possibly Vintage 1960's

Vintage Triumph manual typewriter, which appears to be of German origin Nuremberg together with 2 sealed packages of Kings Charter House typewriting paper

A Hilka Challenge electronic laptop safe. 43x20x37cm. With instruction manual and key.

A boxed Britains 18'' Howitzer die-cast model, no 2107. Complete with original instruction manual, six shells, two shell-cases, spring loader in good working condition

A 1987 Amstrad PPC512 in original carrying case, with manual

A mixed lot to include Sekonda watch, bracelet, earring and a necklace, Casio Quartz manual wind watch, 'The Zoological Society of London' by Halcyon days enamels, a harmonica, earrings and pendants and othersLocation:

Bentima: A 9ct gold lady's bracelet wristwatchModel: StarDate: Circa 1955Movement: 15-jewel, manualDial: Champagne, gold baton and Arabic hour markers, gold handsCase: Polished oval, scroll lugs, inside back stamped 9ctStrap/Bracelet: Flat chain link braceletBuckle/Clasp: Jewellery clasp stamped 9ctSize: 15mm (16.8mm including crown)Weight: 9.5g gross (6.5g gold)Accompaniments: A lady's Rone stainless steel bracelet watch

Garrad and Roamer: Two gentleman's 9ct gold calendar wristwatchesThe Garrard with an ETA Cal.2783 25-jewel automatic movement, brushed champagne dial, gold baton hour markers, gold hands, date at 3, polished round case with snap-on back stamped 9ct and engraved with presentation inscription for 25 years service, dated 1978, 33.5mm, 37g gross, original box and guarantee; the Roamer of near identical form, cal.430 17-jewel manual movement, the back stamped 9ct and engraved with presentation inscription to the same recipient, dated 1965, 33mm, 32g gross, with original box and guarantee. (2)Both with later associated leather straps. Both with minor typical abrasions and scratches consistent with age and use. Crystals have a few minor abrasions. Dials good with a few tiny tarnishing marks. Both movements wind, set and run - Not guaranteed for timekeeping or water resistance - it is advised that these watches are inspected and serviced by a qualified jeweller or the original manufacturer before full use.

Rolex: A lady's 18ct gold wristwatchDate: Circa 1926Movement: 15-jewel, manualDial: Guilloche gold sunburst, black Arabic hour markers, black handsCase: Polished and engraved octagonal, decorated with foliate bands, stamped 18KStrap/Bracelet: Associated gold plated mesh braceletBuckle/Clasp: Integrated buckleSize: 20mm (22mm including crown)Weight: 17g grossCase fair with fine abrasions throughout consistent with age and use. Some pawnbroker marks to back.Crystal fair with some scratches.Dial a little discoloured with some tarnishing around 9 to 12.Strap tarnished and worn.Movement winds and sets but does not run. Balance wheel moves freely.

2017 Mutt Mongrel QM125-2X 125cc motorcycle, registration number VE67 AXY, with V5c, MOT expires 14/04/2023, purchased new by the vendor who has now developed epilepsy and as such has decided to sell the motorbike, with V5c, service records and instruction manual, odometer currently records 4561 miles. 10%+VAT buyer's premium on this lot