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80915 Los(e)/Seite
Los 56
Robert Seabeck (Wyoming, B. 1945) "1957 Corvette" Signed lower right. Mixed Media on Paper. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting originally appeared on the Republic of the Marshall Islands 60? 1957 Corvette stamp issued September 1, 1998. The 1950s was an era of rock 'n' roll music, jukeboxes, sockhops and drive-in movie theaters. It was also an age that witnessed the birth of a new breed of automobile -- the sports car. With its V-8 engine's 265-cubic-inch displacement increased to a muscular 283, the 1957 Chevrolet Corvette? became America's first true sports car. A close-ratio, four-speed manual transmission with floor shift was also offered for the first time on the sleek '57 model. The most important option, however, was fuel-injection, which markedly improved acceleration and top speed. The fuel-injected '57 'Vette, generating an awesome one horsepower per cubic inch of displacement, was capable of screaming from 0 to 60 in 5.7 seconds, reaching a top speed of 132 mph. Image Size: 7.75 x 22.25 in. Overall Size: 15 x 22.25 in. Unframed. (B15897)
Los 344
A gentleman's stainless steel Rolex OysterDate Precision wristwatch with rare grey dial, silver baton numerals, dial marked T swiss T below the 6 o'clock position, original strap marked Rolex, serial number 78350, 557, inside the case is the model number 6694, date code for Nov 1970, 17 jewel manual wind movement with number 3257. The watch is ticking and hands/date can be set however it requires a service and general clean. There is a protective sticker to the rear, which is also marked B Hibbert. The acrylic glass is scratched, particularly over the date window. In original Rolex presentation case. Further info - Winder has logo, screws down, however should not be considered tight or waterproof. Hands set but model does not have separate date setting, so date has to be set manually. Movement winds and runs for a period of time but needs servicing. (this does not constitute a guarantee). Rolex bracelet in good overall condition with some light surface scratches consistent with age. Box generally in good condition, some scuffs and staining; one corner lifting at the rear.
Los 2058
Pair of Norwegian silver blue enamel earring, silver agate ring, cats eye pendant and quartz bangle silver chains all stamped or tested, pair of gold earrings hallmarked 9ct and a Seiko date manual wind wristwatch Condition Report 9ct approx 0.77gm, Seiko watch ticking awayClick here for further images, condition, auction times & delivery costs
Los 2102
Two Victorian 9ct rose gold split seed pearl rings, stamped or tested and Omega 9ct gold ladies manual wind wristwatch No.341850, Birmingham 1950 Condition Report 9ct gold 2.9gm pearls missing, Omega ticking away, replacement crown approx 11gm grossClick here for further images, condition, auction times & delivery costs
Los 99
Omega Speedmaster Professional Stainless Steel Wristwatch with manual wind movement, black dial, triple subsidiary dials, luminous baton numerals and white luminous hands, Omega crown, Speedmaster logo stainless steel case back with inscription, Flight Qualified by Nasa for Manned Space Missions, first watch worn on the moon. Together With Red Omega Box And Omega Guarantee Dated 1972
Los 53
Reloj de bolsillo francés circa 1838-1919. Caja en oro amarillo de 18 k., esfera vista en porcelana esmaltada con numeración romana y mecanismo de cuerda manual, leontina de oro amarillo. Con llave. La esfera presenta pelo y el reloj precisa repaso. En vitrina francesa del siglo XIX, con estructura de madera tallada con interior en seda abatanada y detalles en bronce dorado y latón, 10x8,5x7,5 cm.
Los 1
A Honda Jazz motor car, Model EX I-VTEC, silver, 1318 cc, petrol, five-door hatchback, automatic (with sport manual option & paddle shift), petrol, registration YY16 GUC, mileage 11,263, with reversing camera, black cloth interior, first registered 29 March 2016, 1318cc, no previous keepers, full service Honda dealership service history, MOT expires 28 March 2020, with V5 document, with owner's manual in Honda wallet, with two keys, wheel locking nut, fitted with a brand new battery. *** TO BE SOLD WITHOUT RESERVE ***
Los 490
Mid 16th century AD. A German Renaissance 'hand-and-a-half' or 'Bastard' sword, with double ring guard, double edged broad blade; this gradually tapers towards its point; complex hilt, with pommel (style T5) pear-shaped, closed by a button on the top, very long tang, straight and circular cross-guard; the handle presents a double side guard on both sides and one additional ring on the lower part of the hilt, bowing towards the undecorated flat blade. See Fiore Furlan dei Liberi da Premariacco, Il fior di battaglia,Venezia /Italia /Padova, 1410, Ms. Getty inv. Ms. Ludwig XV 13 (83.MR.183); Oakeshott, E.,The sword in the Age of the Chivalry, Woodbridge, 1964 (1994); Dufty, A.R.,European Swords and daggers in the Tower of London, London, 1974; Talhoffer, H., Medieval Combat: a Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat, by Rector, M. (ed."). London, 2000; the sword has a good parallel with a German sword kept in the Tower of London, published by Dufty (1974, pl.14, lett.a), with which it shares identical characteristics, like the pear-shaped pommel. 1.5 kg, 1.27m (50").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed from Liege, Belgium; accompanied by an academic report by military specialist Dr Raffaele D'Amato.The use of two hand swords was a typical way of fighting of the Gallic and Germanic tribes that, when facing the Roman legionaries they struck them from the top downwards, brandishing their swords with both hands. In fact, the chronicles report that the legionaries were intimidated by this brutal way of fighting and by the powerful blows that ensued ... even if this certainly did not prevent them from hitting their opponents with rapid and lethal strikes sheltered by their shields, how they were trained to do and how Vegetius describes. But the true genesis of such swords was due to the evolution of the use of armour in combat. It is logical to think that when, in 14th-15th century, a warrior faced an adversary covered by 30-40 kg of steel, the classic one-handed sword and its use lost a lot of meaning. The sword, thanks to the evolution of metallurgy, then began to change assuming the shape and characteristics that we attribute to those of the European two-handed sword. The first fencing text that has come down to us, of Italian origins, to describe the use of this weapon is the 'Flos Duellatorum' (1409 AD) written by the Master Fiore dei Liberi. Besides knowing that Fiore had studied, by his own admission, from the best German and Italian Masters, we know that at the time of writing his treatise he was already old; we can therefore assume that the way of fighting described by him may be the one used in Italy at least from the second half of the 1300s, but its importance lasted until the end of the 16th century as well. The Flos Duellatorum of Fiore dei Liberi (preserved in the Getty) is depicting two Magistri in Posta di Donna (woman’s position"). As regards the use of the sword with two hands Fiore distinguishes between the techniques to be used protected by a simple 'zupparello' (gambeson) and those to be used in complete armour (so much to dedicate a special 'chapter' with guards and techniques specific to this particular type of combat) demonstrating an efficacy, an expertise and capacity of an unexpected finesse, especially in the eyes of those who think of a way to fight based almost exclusively on powerful and brutal blows. However, this does not mean that surely in Fiore's game the physical force finds an important component and plays an undisputed role as well.Fine condition, repaired. Rare.
Los 492
Mid 16th-early 17th century AD. A rapier of possible Spanish or Italian manufacture; the open basket-hilt sword, fitted with the blade, has straight double-edges with a pointed blade(?), presenting a hilt with straight quillons; the side guards are still preserved, together with the arms of the hilt and the knuckle bows; with two additional rings on the lower part of the hilt, bowing towards the flat undecorated blade; the sides of the blades show strong signs of employment in battle. See Tarassuk L., Blair C., The complete Encyclopedia of arms and weapons, Verona, 1986. 1.6 kg, 94cm (37").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; accompanied by an academic report by military specialist Dr Raffaele D'Amato.A variety of swords were used by the Englishmen during the Tudor period, these included the cutting sword, the broadsword and the rapier. The cutting sword was useful in the medieval period but was less effective on the battlefield by the time the Tudor era began. It was consequently replaced by the rapier which was sleeker and was adopted from Spain. It was a slender sharply pointed sword, mostly used for thrusting attacks, as in fencing. It was very thin and sharp, making it look like a thin pole. The rapier was also used by English noblemen to test their skills at fencing which had become a popular sport during the Tudor period. It was common for the noblemen to wear their rapier along with the civilian dress, usually as a part of the clothing. Discussions about the origin of the use of the rapier in England frequently begin by focusing on the very late 16th century. The term rapier was borrowed in 16th century from the French rapière, which was recorded first in 1474AD in the expression épée rapière, which itself derived from the contemporary Spanish espada ropera, the dress sword carried daily by the Spanish noblemen and gentlemen (Tarassuk-Blair, 1986, pp.401 ff."). This weapon was lighter than the arming sword. With the development of the art of fencing in 16th and 17th century the rapier became narrower and lighter, and so suitable for thrusts only. The teaching of rapier was established in England before 1569, and well before that, the school of the famous Italian teacher Rocco Bonetti, who was already established and active in 1576. Accounts from the 1630s set the time when the rapier replaced the sword and buckler as the weapon of choice for civilian combat as being '20. yeare of Queene Elizabeth' or about 1578. But in order for a weapon to become popular there has to have been training beforehand, in which the Masters of Defence of London played the major' part. This sword is an interesting piece belonging to the early period of diffusion of the rapier in England, with all probability from a battlefield, a castle or a military site. The weapon that embodied the duelling spirit was the rapier. The introduction of the rapier into England was one of the most significant single innovation, yet for those unwilling or unable to use such a 'sophisticated' weapon the 'cut and thrust' sword, arming sword or broadsword remained the primary edged weapon, that is after the omnipresent dagger. The new technique of swordplay, introduced in the mid XVI century, gave emphasis to the point of the blade as main instrument of attack. This brought the change of the structure of the sword's guard. In order to point the blade more effectively, some swordsmen used to put one or more fingers in front of the quillons, and these fingers needed to be protected by the arms of the hilt and side guards. Since ordinary gloves were usually worn during an encounter, the increase of all these elements of the guard became a necessity to cover the hand of the target nearest to the opponent. The English at the end of the 16th century followed the continental fencers in taking on the use of the rapier. Just to give a glimpse we can remember as on September 22nd, 1598, two men wandered out into the damp fields of Hoxton, north of London. On that muddy ground, they drew swords – at least one of which was 'a certain sword of iron and steel called a rapier, of the price of three shillings” and fought. At the end of the affray, one man lay dead, suffering 'a mortal wound, to the depth of six inches and the breadth of one inch' to his right side. That man was Gabriel Spencer, a play-actor in the Lord Admiral’s Men and the man that killed him was Ben Jonson, the playwright, friend of William Shakespeare and one of the most famous dramatists of the age. In defence of a proper English technique, George Silver published a treatise called the Paradoxes of the defence, a treatise which was used to espouse the use of the English weapons and to downplay the use of the rapier. Silver hated the Italians and Spanish and made sure that his readers knew that these styles were more dangerous for the user than good English practices. He also wrote a treatise on his Paradoxes called Brief Instructions. The Italian Elizabethan Masters were instead Saviolo and Di Grassi. Saviolo' s works cover not only his view on fencing mechanics but also the concept of the honour. Di Grassi treatise in particular was one of the finer manuals translated to English in this time period. Although Di Grassi predates the Elizabethan period, his manual, which was originally published in 1570, was translated into English in the late Elizabethan period. Not every sword maker could make a good rapier blade. The most part of the blades were made in specialised workshops: in Italy, Milan and Brescia; in Spain, Toledo and Valencia; in Germany, Solingen and Passau. From these cities the blades were exported throughout all Europe, and the hilts mounted in accordance with local fashion and decoration. For example, although Milano, Napoli, and Palermo were subjects of Spain, the decoration style was typically Italian. In Southern Italy the dominant features were the fuller running down the blade and the decorative work using the technique à jour.Fine condition. Rare.
Los 491
Mid 16th century AD. A German Renaissance 'hand and a half' or 'Bastard' sword, with ring guard, double-edged broad blade, lenticular in section, with single short shallow fuller, running up half of its length; complex hilt, with pommel (style T1) in shape of truncated wedge, closed by a rivet on the top, long tang, cross-guard widening towards the edges where the iron quillons are ending with a triangle; the handle presents a double-sided guard together with the knuckle bow; it shows two additional rings on the lower part of the hilt, bowing towards the flat blade, which is decorated with an unidentified maker’s mark, impressed just under the fuller. See Talhoffers Fechtbuch aus dem Jahre 1467, gerichtliche und andere zwei Kämpfe darstellend, ed. Hergsell G., Prag,1887; Dufty, A.R., European Swords and daggers in the Tower of London, London, 1974; Talhoffer, H., Medieval Combat: a Fifteenth-Century Illustrated Manual of Swordfighting and Close-Quarter Combat, by Rector, M. (ed.), London, 2000; Oakeshott, E.,Sword in hand, London, 2001; the sword is a good parallel with the sword kept in the Tower, published by Dufty (1974, pl.14, lett.a), clearly coming from the same workshop, as shown by the same mark impressed upon the blade (1974, pl.106, lett.9b"). 1.4 kg, 1.2m (47 1/4").From an important private family collection of arms and armour; acquired on the European art market in the 1980s, and thence by descent; believed from Leige, Belgium; accompanied by an academic report by military specialist Dr Raffaele D'Amato.In the inventory of the Tower of London, in 1547 AD, Grete slaghe swordesie. two handers, are mentioned. Since the last quarter of the 15th century began the development of the hilt of the arming sword, which eventually become a rapier, paralleled by the big 'bastard' swords (Oakeshott, 2001, p.137"). Until 1500 AD, the two-handed sword was mainly relegated to use in duels, so much so that in 1409 AD Fiore dei Liberi published the first Italian manual on the use of this weapon, followed by Filippo Vadi some ten years later, who drafted also a series of points necessary to allow a sword to be defined as 'two-handed'. In the famous Talhoffers Fechtbuch are illustrated the various ways and movements of such combats with the double-handed sword: the first sixty seven plates are dedicated to the fight with the 'Langes Schwert' (longsword"). The fencing is analysed in all the various moments, by instructing regarding positions or guards until the guidance of real blows: at the beginning, further explaining the various engagements, as well as how the most varied movements with the blade and the handles should be done, and mentioning the various booklets about the sword. The fencing is analysed in detail. The author explains how to put focus on the key moments of the fight: how to hold the point of the blade and to rip with the quillons of the handle, how to make a blow with reversed sword or how to push with the sword pommel against the face of the opponent, or to complete the fight in appropriate moments by a wrestling match. Finally, without having incurred any damage, the author explains how to emerge victorious or disarm the opponent. With the arrival of the new century, the grip was made safer by altering at the handle and the base of the blade, which was lengthened until the sword reached the height of a man; moreover, the two-handed sword gained popularity in battle, where it was used to knock down the wall of enemy spades. The average weight of a two-handed sword was about one and a half kilograms, and the total length ranged from 110 to 150 cm. The 16th century was the peak of their popularity as weapons, Jacopo Gelli in his Guida del raccoglitore e dell’amatore di armiantiche (Guide for the collector and enthusiast of ancient weapons) defines such a weapon as 'Big Swiss Longsword', shaped like a biscia (whirlpool), used during the XVI century, to not be confused with the hand and half sword, having a snaked blade (from the French Flamboyante"). Italian sword makers referred always to such kind of blade as 'a biscia', imitating the shape of a creeping snake on the ground.Fine condition. Rare.
Los 507
A LADY'S SAPPHIRE AND 14CT GOLD WRISTWATCH, BAUME & MERCIER Manual, the oval silvered dial with baton hour markers, the bezel part claw-set with circular mixed-cut sapphires, on an integral tapered bracelet strap with adjustable folding clasp, width of bezel approximately 25.5mm, approximately 17,5cm in length
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