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Lot 148
A SELECTION OF SILVER ITEMS, to include a late Victorian pocket watch, signed 'Collingswood & Son Middlesborough', both cover and dial AF, with Roman numerals, hallmarked Chester 1897, estimated dimensions 75 by 55 by 20mm, not currently working not tested, together with a late 19th / early 20th century toothbrush, hallmarked Birmingham 1897, length 90mm, and button hook, hallmarked Birmingham 1910, length 140mm, and an early 20th century comb holder with faux tortoiseshell vintage comb, hallmarked Chester 1934, length 112mm, approximate gross weight 199.7 grams (condition report: generally fair condition, pocket watch AF with damage to dial and missing perspex cover, comb missing some teeth, toothbrush signs of age / wear)
Lot 167
A FRUITWOOD, ELM AND BEECH COMB BACK WINDSOR ARMCHAIRSECOND HALF 18TH CENTURY99cm high, 61cm wide, 61cm deepSee for a related chair attributed to the Thames Valley, circa 1720-40, see Bernard D. Cotton, The English Regional Chair, Antique Collectors' Club, 1990, page 46, figure TV16. Condition Report: There are some marks, scratches, knocks, chips, splits and abrasions consistent with age and use.There are losses and restorations including a replacement arm; some later fixings including to the underside of the arms; some bitumisation/crackelure to the traces of staining that remain in a few areas; two legs re-tipped; some traces of glue to the back/crest rail area.There is evidence of worm.Please refer to the additional photographs as a visual reference of condition. Condition Report Disclaimer
Lot 460
Tajima Hiroyuki, (1911-1984) after, three prints, The Family, signed and num, 4/50, and dated (19)73, 47 x 53cm , mounted framed and glazed, 68 x 75cm, A Mask, signed and num 1/50 and dated (19)69, 57 x 42cm, mounted framed and glazed, 75 x 68cm, and Paper Comb, signed and num 1/50, and dated (19)70, 58 x 43cm, mounted framed and glazed, 78 x 64cm
Lot 2133
19th Century and Later Cut Steel Jewellery, comprising a decorative tiara with rotating flower heads (a.f.); a hair comb with cut steel mount; two necklaces with flower head motifs; two bracelets, one includes a printed oval image of a pair of figures; pair of circular earrings with fringing, another pair of diamond shape; three brooches and rectangular hair clipTiara - rusted in areas, central and left hand flower rotates, the right is very stiff. Plume part has broken and loose from the centre. some beads are missing from this, also a couple missing overall, and appears something missing from each side. Hair comb - tarnishing an dcouple of bead losses.Floral and gilt steel brooch - tarnishing and mis-shapen.Bangle - central flower head has been rewired and the clasp is slightly loose.Domed brooch - tarnishing.Circular gilt and steel brooch - slightly mis-shapen, bead losses possibly.Hair clip - tarnishing and mis-shapen.Circular earrings - tarnishing and wear.Flower head necklace - tarnishing and slight wear.Bracelet with china mount - glued repair, tarnishing and wear.Bead flowerhead necklace - tarnishing and wear.Screw earrings - different coloured backs to the earrings, tarnish and mis-shapen.
Lot 2213
Assorted Early 20th Century Costume Accessories, comprising a black velvet smoking cap with floral embroidery, an Eastern purple wool cap decorated with cut steel, appliques and yellow tassel; pale peach ostrich feather boa, black feather stole with velvet lining; peach silk trims; two silk scarves; white net veil with embroidered decoration and attached hair comb, white floral wax head dress and another with faux pearls (one box)Black feather boa - velvet to the reverse, shows some wear.Pieces of peach silk approximately 2m long and 4m long, 1.5m long, 7cm wide - slight rubbing and wear.Yellow striped silk scarf - small thread pulls and wear.Peach feather boa - feather losses.Cream evening scarf, 220cm by 23cm - some rubbing and wear.Purple cap - fading and wear to the felt, faded around the bottom edge, some steel beads missing and tarnished, applique discoloured, split and staining to inside.Velvet cap - lots of fading and wear overall.Head pieces - splits and wear to both.Veil - couple of tiny holes overall and very slight discolouration.
Lot 2264
Circa 1830 Grodnertal Doll with black painted curled hair with hair comb, painted face, pierced ears and earrings, on a jointed body, possibly wearing the original dress or certainly fabric contemporary to the doll in red floral cotton with leg of mutton sleeves, cotton underskirt and bloomers, purple silk hat with lace trim, 23cmSmall cracks to the front and back of the neck, smaller cracks to the face, another to the right ear. Skin paint quite yellow in small areas to the bottom of the neck. Nose and chin both scuffed/slightly chipped, also the corners and edges of the hair comb are chipped. Small/tiny pitting marks to the forehead and front of the hair, some small scuffs and paint flakes to the face. She is stitched into the bodice but lower arms are mainly scuffed to the right. Wooden body is hinged with painted lower legs and shoes, which both show wear and scuffing. Some wear, discolouration and small holes to the dress.
Lot 055095
Umfangreiche Toiletten- bzw. Reisegarnitur für die Dame, deutsch, 1.H.20.Jh., im orig. Lederetui in Burgunderrot, diverse Glasflakons, Bürsten, ein Kamm, Nagelpflegeset, Aufstellspiegel, z.T. wohl vernickelt, Griffe z.T. aus Bein, l. Gebr.-sp.Extensive toilet and travel set for the lady, German, 1st half of the 20th century, in the orig. Leather case in burgundy red, various glass bottles, brushes, a comb, nail care set,standing mirror, partly nickel-plated, partly bone handles, slight traces of age
Lot 442
A .270 (Win.) 'Model 66S' bolt-magazine rifle by Mauser, no. SG 51039Bolt-head safety, double set-trigger, figured stock with wood extension and rubber recoil-pad, pistolgrip, pistolgrip-cap, cheek-piece, Monte Carlo comb, sling-swivels and adjustable bipod, the barrel with ramp-mounted blade-foresight, the breech-end fitted with a Zeiss Diavari-Z 6x42 T* telescope-sight in quickly-detachable mountsWith a .22 (L.R.) 'Model 2-E-H' bolt-magazine rifle by BRNO, no 440267Weight 9lb. 6oz., 16in. pull (13¾in. stock), 23in. barrel, German nitro proof(2)This lot is subject to the following lot symbols: S1S1 Section 1 lots require a valid British Firearms certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com
Lot 578
A 12-bore 'DT10 Trident Sporting' single-trigger over-and-under ejector gun by Beretta, no. AG6625BHold-open toplever, selective adjustable gold-washed single-trigger with manual safety-slide and integral barrel-selector switch, well-figured stock with palm-swell pistolgrip, adjustable comb, and recoil-pad, the Excelsior High Strength Alloyed Steel barrels, engraved 'Sporting / Beretta-Gardone V.T., with ventilated mid-rib and matt ventilated top-ribWeight 8lb. 10oz., 14¼in. pull (13¼in. stock), 30in. barrels, multi chokes (¼ & ½ included), 3in. chambers, Italian nitro proofThis lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com
Lot 580
A 12-bore 'DT10 Trident Sporting' single-trigger over-and-under ejector gun by Beretta, no. AG6644BHold-open toplever, selective adjustable gold-washed single-trigger with manual safety-slide and integral barrel-selector switch, well-figured stock with palm-swell pistolgrip, adjustable comb, and recoil-pad, the Excelsior High Strength Alloyed Steel barrels, engraved 'Sporting / Beretta-Gardone V.T., with ventilated mid-rib and matt ventilated top-ribWeight 8lb. 10oz., 14¼in. pull (13⅜in. stock), 30in. barrels, multi chokes (¼ & ½ included), 3in. chambers, Italian nitro proofThis lot is subject to the following lot symbols: S2S2 Section 2 lots require a valid British Shotgun certificate, RFD (Registered Firearms Dealer) Licence or import licence.For further information on this lot please visit Bonhams.com
Lot 362
A good George III cherry, walnut and elm comb-back Windsor armchair, Thames Valley, circa 1770-90, the tall back having a solid vase-shaped splat, flanked by four spindles and one lath, below a shaped stay-rail, incurved front arm supports, saddle seat, each turned front leg with a small low baluster, joined by an elliptical turned H-form stretcher , 60cm wide, 44cm deep, 118cm high Chris Pickvance Collection
Lot 511
A Cuirassier close helmet, English or French, circa 1620 and later, With rounded two-piece skull with low comb, pierced visor with pointed peak and two horizontal vision-slits, pivoted on large flower-headed rivets, gorget-plates front and rear, each drawn-out to a point with rolled edge, and with rivets, height 33cm, width 26cm, depth 35cm.
Lot 157
A Pair Of Solerets In Gothic Style Of The Late 15th Century, And A Reproduction Close-Helmet In English 16th Century StyleThe First 19th CenturyThe first of steel, each of seven overlapping lames articulated on dome-headed rivets, each lame embossed with characteristic fluting and with cusped upper edge, hinged around each heel and secured by a hook catch (rust patinated overall); the second with two-piece skull, high turned comb and plume-holder at the rear, visor with stepped sight, prow-shaped upper-bevor with keyhole ventilation slots, and lower bevor, all pivoted at the same points on each side, pivot hook catch, gorget plate front and rear, and recessed turned borders followed by domed rivets (3)The first 34 cm. longFor further information on this lot please visit Bonhams.com
Lot 164
A German Black And White Comb MorionCirca 1600With two-piece skull rising to a high roped comb, embossed on each side of the skull with a large fleur-de-lys in low relief, downturned brim curving up to a point fore and aft, and with turned and crimped border, the base of the skull with lining rivets on embossed brass washers, the surfaces against a blackened ground 24 cm. highFootnotes:Of the type associated with the Munich Town Guard. The fleur-de-lys is the symbol of the Virgin Mary to whom the Munich Town Guard were dedicatedCf. a similar example sold in these rooms, Fine Antique Arms & Armour..., 23 September 2020, lot 169For further information on this lot please visit Bonhams.com
Lot 167
An English Civil War Period Pikeman's Pot Helmet, And A Closed-Burgonet In German 17th Century StyleThe First Mid-17th Century StyleThe first with rounded two-piece skull with low turned comb, incised on each side with single lines and encircled around the base with small dome-headed lining rivets, the downturned brim with slightly recessed turned border with rivets en suite, and struck on one side with crowned armourer's mark (some rust patination overall); the second of characteristic form, with two-piece skull rising to a comb, peaked fall and lower bevor pivoted at the same points on each side, and domed rivets (surface rust overall) (2)The first 22 cm. highFor further information on this lot please visit Bonhams.com
Lot 298
A Flintlock Blunderbuss By Mewis & Co. Of Birmingham, Late 18th CenturyWith barrel flared at the muzzle and now browned overall, breech engraved with an elongated loop along the tapering sighting flat and with a beaded line at the rear, browned tang engraved with foliage and a shell, signed border engraved flat bevelled lock decorated with a scallop shell and flower-head at the stepped tail, engraved cock (comb, top-jaw and screw replaced), figured full stock inlaid with silver wire scallop shell and scrollwork around the barrel tang, border engraved brass mounts comprising shaped flat side-plate decorated with a flower-head, butt-plate with a foliate rocaille on the heel tang, trigger-guard with acorn finial and a flower-head on the bow, vacant escutcheon on a pedestal, a spread-eagle above, turned ramrod-pipes, and an original brass-capped ramrod with iron worm, private Birmingham proof marks 41.3 cm. barrel Footnotes:William Mewis & Co. were gunmakers and factors in Birmingham and are recorded from around 1765. They are known to have marked their firearms 'London'For further information on this lot please visit Bonhams.com
Lot 259
Y A COLLECTION OF SILVER ITEMS To include: an Edwardian Scottish silver quaich by Brook & Son, Edinburgh 1907, engraved with a presentation inscription, 20cm (8in) long; a twin handled bowl by William Hutton & Sons Ltd., Birmingham 1925, with twin angular handles and engraved with a presentation inscription, 15.5cm (6in) long; a silver bowl; a silver dish; a cased christening set; a silver mounted, enamel and tortoiseshell comb by Adie Brothers, Birmingham 1914, 18cm (7in) long; and a cased French silver coloured knife, fork and spoon, the knife with an ivory handle and stainless steel blade 769g (24.7 oz) gross weighable Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer
Lot 265
Y A COLLECTION OF SILVER ITEMS To include: a shaped oval sauce boat by J. B. Chatterley & Sons Ltd., Birmingham 1968, with a leaf capped flying scroll handle and on three stepped pad feet, 18.5cm (7 1/4in) long; a Britannia standard apostle spoon by Garrard & Co. Ltd., London 1968, 16cm (6 1/4in) long; a money clip by Links of London, 5cm (2in) long; a cigar cutter; a cased silver mounted brush and tortoiseshell comb; and three other silver mounted brushes 328g (10.55 oz) gross weighable Condition Report: There is no condition report available for this lot and is sold as found Condition Report Disclaimer
Lot 76
Y A LEATHER TRAVEL CASE CIRCA 1929 The cover stamped R.S.A., with twin flip lock clasps and a leather loop handle, opening to a red leather interior containing a thirteen piece silver mounted dressing table set by J. P. & Co. Ltd., London 1929, with engine turned decoration and engraved R.S.A, including a silver mounted and tortoiseshell comb, and a leather writing pad and stationary folder 49cm (19in) long With a canvas dust cover
Lot 281
Mixed Lot: an Art Nouveau dressing table mirror frame (only) elaborately decorated with cranes, lily pads and bulrushes, Birmingham 1905, maker's mark William Adams Ltd, 10 silver handled shoe horns, 9 silver handled button hooks, a pair of white metal Punch & Judy character handled button hook and shoe horn, together with four silver handled manicure items and a celluloid mounted comb, (qty)
Lot 12
A white metal and enamel compact, the hinged case, opening to reveal a comb, with chain suspension,8 x 5cmand an Ingrid glass scent bottle, of octagonal form, moulded with a maiden and flowers, with an ivorine screw lid, 8cm high (2)Surface scratches to the compact. Small crack to the ivorine lid of the scent bottle, and a scratch to the base.
Lot 23
A silver mounted vanity case by J.C Vickery,comprising a handheld brush,13.3cm long, a brush, 12cm long, and mirror, 13.3cm high, by W & F Rabone, Birmingham 1914, and six cut glass bottles, of varying sizes, tallest 7.5cm high, with silver tops by G H James & Co, London 1914, all in a fitted purple leather case, marked 'J.C Vickery, Regent St.',23cm wide16.5cm deep10.5cm highSome items missing, including a comb. Wear to the leather case. Tarnishing and scratches to the silver.
Lot 32
A Victorian silver footed bonbon dish,by Josiah Williams & Co, London 1895,together with a silver mounted brush and comb set,by Broadway & Co, Birmingham 1993,weighable 2.5ozt (3)Remnants of silver polish to the bonbon piece. Foot dented/bent in a number of places. Surface marks/scratches/tarnish.
Lot 54
An Edwardian crocodile skin suitcase with a silver vanity set,by William Devenport, Birmingham 1909-1910, comprising a handheld mirror 25cm long, two handheld brushes, two brushes, a comb, six cut glass and silver lidded jars, tallest 18.5cm high, a nail set, a notebook with ivory-handled pen, and two silver-plated vesta cases, 4.5cm high, all in a fitted crocodile skin case, with impressed initials E. C. G, and outer dust case with a leather panel bearing the same initials, 52cm wide36cm deep20cm highDents to the handheld brush and four of the lidded jars. Teeth missing from the comb. Damage to the interior lining. Some wear to the crocodile skin. Losses to the handle. The outer dust case is heavily worn, with loose threads, holes and wear to the leather.
Lot 264
Quantity of Continental silver and white metal items including Dutch silver sifter spoon, J M van Kempen & Zn. Voorschoten, pierced, engraved and matt finish shallow bowl; Dutch silver-backed hairbrush, embossed with a tavern scene after Teniers, 11cm; Roccoco style bowl and milk jug, unidentified marks, probably Dutch, cast cherub head handles; pierced tea strainer, the handle cast with group of musicians, and a comb mount (lacking comb).Qty: 6
Lot 56
A SELECTION OF SILVER ITEMS, to include a cased set of six silver coffee spoons each set with a three pence coin to the terminal, hallmarked Sheffield, a single cased teaspoon engraved initials to the terminal, hallmarked Sheffield, a graduated silver albert chain fitted with a T-bar and lobster clasp, each link stamped with a sterling mark, hallmarked 'Henry Pope' Birmingham 1907, another silver oval link albert chain fitted with a lobster clasp unmarked, a gents white metal signet ring with engraved initials unmarked, a silver fob medal with a vacant rose gold shield cartouche, hallmarked Birmingham, a silver lid to the vanity bottle a broken silver spoon, dagger brooch and a silver comb mount, a silver butterfly wing detailed tie clip, approximate total gross weight 253.8 grams
Lot 401
A very good quality early 20th century crocodile travelling case with silver fittings, having silver hair and clothes brushes, hand mirror, 8 silver topped bottles, hallmarks for London 1918 Loebl & Co, mirror T & F Perry, crocodile covered jewellery box, sewing case, comb case (comb has teeth missing), crocodile ink bottle and vesta; the case is almost in unused condition and has a key it its own crocodile case, the bottles are in good condition and all silver is unengraved, the manicure pieces are missing, dents to brushes, outer cloth case has wear and the silk interior is worn but this case has obviously hardly been used on any travels, case 18cm x 46cm x 35cm
Lot 2
A collection of Victorian and later silver, comprising a Victorian silver and mother of pearl penknife, Hilliard & Thomason, Birmingham, rubbed date mark, blade length 7cm, 9cm long when closed, an Edwardian silver salt with pierced decoration, blue glass liner, J. T. Birmingham 1903, 4.5 by 2.5cm high, together with three napkin rings, Birmingham 1919, three silver topped dressing table bottles, a silver backed small comb and a small brush, weighable silver 2.1toz overall. (1 bag)
Lot 19
Godwin Oluwole Omofemi (Nigéria, né en 1988)Sans titre, 2017 signé et daté en bas à droite 'Oluwole Omofemi 17'huile sur toilesigned and dated 'Oluwole Omofemi 17' to the lower right oil on canvas91 x 91cm.35 13/16 x 35 13/16in.Footnotes:ProvenanceCollection privée, NigériaNé en 1988 à Ibadan, au Nigeria, Godwin Oluwole Omofemi développe très tôt son aptitude à la peinture. Au fil de l'évolution de son travail, il acquiert une réputation pour ses représentations éblouissantes du portrait noir contemporain, généralement sur fonds lumineux, comme le bleu froid de Sans titre (2017).Les compositions des peintures d'Omofemi sont le résultat d'un processus mûrement réfléchi. Il choisit une palette de couleurs et les vêtements de son sujet en fonction de l'ambiance qu'il souhaite transmettre à travers l'œuvre. Il prend ensuite des photographies de son modèle qu'il utilise comme images de référence lorsqu'il peint. Travaillant à l'acrylique et à l'huile, il introduit un élément imaginatif qui transcende l'image photographique en stylisant la figure, exagérant souvent des éléments tels que les cheveux du modèle. L'approche réaliste adoptée pour représenter le sujet est réhaussée par la platitude de l'arrière-plan monochrome.Si les modèles des tableaux sont généralement des amis ou des membres de la famille de l'artiste, Omofemi, au travers de ses œuvres, leur offre une part de mysticisme et de spiritualité. Il considère que les femmes sont proches de Dieu, car il associe les qualités traditionnellement associées à la féminité - amour, acceptation et pardon - au divin. Comme l'explique Omofemi, 'Je ne veux pas simplement peindre un tableau. Je veux un tableau qui capture l'âme. Je veux un tableau qui capture la personnalité. Ce sont les choses que je veux que les gens voient' (Omofemi cité par P. Laster, 2021).Sans Titre (2017) appartient à un ensemble d'œuvres dans lesquelles Omofemi explore la politisation des cheveux pour affirmer une puissante subjectivité noire. Il explique : ' Dans mes peintures, j'essaie de dire aux Noirs d'accepter qui ils sont, d'accepter leur identité, d'accepter leur beauté ' (Omofemi cité par P. Laster, 2021). Il se souvient du mouvement transnational des droits civiques des années 1960 et 1970, lorsque les cheveux naturels étaient considérés comme un moyen d'éviter le conformisme européen et d'affirmer une forte identité panafricaine.Dans la présente œuvre, le sujet est représenté arborant une coiffure afro surdimensionnée qui domine la toile. Ses cheveux sont un symbole de force, de beauté et de pouvoir. Réfléchissant aux qualités symboliques des cheveux, Omofemi note ' [un] effet capillaire surprenant des cheveux noirs qui me remplit d'admiration : peu importe la façon dont nous peignons ou traitons nos cheveux, ils ne tomberont jamais, mais s'étireront ou s'élèveront. Pour moi, les cheveux sont une perche ou une antenne qui nous donne le pouvoir de nous connecter au Divin' (Omofemi cité par M. Mobengo, 2021).Au cours des deux dernières années, le travail d'Omofemi a suscité une attention internationale significative. Il a bénéficié de deux expositions personnelles à la Signature Art Gallery de Londres, The Way We Were (12 mars-9 avril 2020) et In Our Days (1-30 septembre 2021). Son travail est actuellement présenté dans une exposition personnelle à Out of Africa Contemporary Art à Barcelone (jusqu'au 19 mai 2022).BibliographiePaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, en ligneMurielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), en ligneGodwin Oluwole Omofemi has swiftly garnered international acclaim for his distinctive approach to contemporary Black portraiture. Born in Ibadan, Nigeria in 1988, Omofemi's aptitude for painting was recognised at a young age. Through his evolving body of work, he has gained a reputation for dazzling depictions of female subjects, typically set against luminous backgrounds, such as the cool blue of the present work.The compositions of Omofemi's paintings are the result of a carefully considered process. He selects a colour palette and the clothing of his subject according to the mood he wishes to convey through the work. He then takes photographs of his model which he uses as reference images when he paints. Working in acrylic and oil, he introduces an imaginative element that transcends the photographic image as he stylises the figure, often exaggerating elements such as the model's hair. The realist approach taken to depicting the subject is juxtaposed with the flatness of the monochrome background.While the models for the paintings are typically friends and family of the artist, Omofemi believes they accrue a spiritual quality when translated to canvas. He understands women to be close to God as he associates the qualities traditionally associated with femininity – love, acceptance, and forgiveness – with the Divine. As Omofemi explains, 'I don't want to just paint a picture. I want a picture that captures the soul. I want a picture that captures personality. These are the things I want people to see' (quoted in P. Laster, 2021). Sans Titre (2017) belongs to a body of work in which Omofemi explores the politicisation of hair to assert a powerful Black subjectivity. He explains, '[i]n my paintings, I try to tell black people to accept who they are; accept their identity; accept their beauty' (quoted in P. Laster, 2021). He looks back to the transnational Civil Rights Movement of the 1960s and 1970s when natural hair was valued as a means to eschew European styles and assert a strong Pan-African identity. In the present work, the subject is portrayed with an oversized afro that dominates the canvas. Her hair is a symbol of strength, beauty, and power. Reflecting on the symbolic qualities of hair, Omofemi notes '[a] surprising capillary effect of Black hair which fills me with awe is no matter how we comb or treat our hair, [it will] never fall down, [but will] rather stretch or rise. To me, hair is a pole or antenna which gives us the power to connect with the Divine' (quoted in M. Mobengo, 2021).In the last two years, Omofemi's work has garnered significant critical attention and has been exhibited internationally. He has received two solo exhibitions at Signature Art Gallery in London, The Way We Were (12 March - 9 April 2020) and In Our Days (1 - 30 September 2021), and his work is currently on view in a solo show at Out of Africa Contemporary Art in Barcelona (until 19 May 2022).BibliographyPaul Laster, 'Reclaiming Identity: Oluwole Omofemi's Paintings Reflect His African Roots', Whitehot Magazine of Contemporary Art, May 2021, onlineMurielle Mobengo, 'Art Talk with Oluwole Omofemi', Revue {R}évolution, 27 April 2019 (updated September 2021), online... This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the car remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où la voiture reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com
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