A WWI Military Cross miniature group of three, together with two photographs of Captain Frank Moxon Stout MC:, Military Cross, War Medal and Victory Medal miniatures.*Notes- Frank Moxon Stout (1877-1926) was awarded the Military Cross for his actions serving with the Motor Machine Gun Corps. Upon hearing of the enemy positions he and Corporal G Tester took a machine gun to the end of the trench and took turns standing upon each other's shoulders to fire the gun at the enemy position 30-40 yards away. A wing forward for Gloucester he was also selected to play for England, earning his first cap in 1897. In 1898 both he and his brother Percy were selected to play for England in the match against Wales, both brothers scored a try, the first time brothers were to score at an international level for England. This was not repeated until 1993.
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CHANNEL ISLANDS; a large collection of First Day Covers, in four Duchy albums, together with CHANNEL ISLANDS; George VI-Elizabeth II mint and used collection, Great Britain collection of Postage Dues, mint and used, Regionals, labels, postal history and other items in a loose leaf album also a Best-Bez mint sheet book containing a collection of Elizabeth II pre-decimal full and part sheets of stamps (6).
Montague Dawson (British, 1890–1973)Tranquil NightSigned 'MONTAGUE DAWSON' bottom left; also titled on upper stretcher verso, oil on canvas28 x 42 in. (71.1 x 106.7cm)PROVENANCE:Frost & Reed, London, United Kingdom (per label verso)J.J. Gillespie, Pittsburgh, Pennsylvania (per label verso).Private Collection, Alabama.NOTE:While he never received formal art training, Montague Dawson became one of the most commercially successful British marine painters of the 20th century. Best known for his vast output of skillfully composed ship portraits, Dawson was first exposed to art by his father and grandfather (both successful marine painters) before joining a London art studio. Soon thereafter he joined the Royal Navy at the inception of World War I, serving again in World War II as an official war artist. Later in life, Dawson regularly exhibited at the Royal Academy and the Royal Society of Marine Artists. His vast knowledge of ships allowed him to populate his works with all manner of marine vessels, including clippers, frigates, warships, racing cruisers, tankers, U-boats and packets, which he painted in high detail with great technical accuracy. The present work, depicting a large vessel sailing on a calm sea at night, represents a rarity in Dawson's œuvre as the artist generally preferred to paint ships caught in a storm or engaged in battle.
Paul Gauguin (French, 1848–1903)Famille TahitiennePencil signed with initials 'P.G.0' bottom left; also illegibly inscribed [in French] 'Epreuve unique/de Gauguin/AC' [?] bottom left, monotype and graphite on paperSheet size: 16 3/4 10 1/4 in. (41.3 x 26cm)Executed circa 1902.PROVENANCE:Wildenstein & Co., New York, New York.Acquired directly from the above in 1975.Private Collection, New York, New York.EXHIBITED:" Paul Gauguin: Monotypes," Philadelphia Museum of Art, Philadelphia, Pennsylvania, March 23-May 13, 1973, no. 98.LITERATURE:Richard S. Field, Paul Gauguin: Monotypes, an exhibition catalogue, Philadelphia Museum of Art, Philadelphia, 1973, no. 98, p.121 (illustrated).NOTE:Widely recognized as a major figure in 19th century art, Paul Gauguin is best known as a Post-Impressionist who specialized in vibrant paintings of Tahiti and its natives. He was also a sculptor and highly accomplished printmaker, producing a large and diverse body of prints that includes woodcuts, lithographs, zincographs, drypoint etchings, and, as in the present work, monotypes. The monotype is a hybrid of sorts, occupying a unique space between printmaking and drawing. Indeed, Gauguin himself referred to his works in this medium as "printed drawings" (Richard S. Field, Paul Gauguin: Monotypes, Philadelphia Museum of Art, exhibition catalogue).Gauguin's first reference to monotypes is found in a letter of 1900 to the young Parisian art dealer Ambroise Vollard, in which he describes them as "experiments," writing: "I have just done a series of experiments in drawings with which I am fairly well pleased, and I am sending you a tiny sample. It looks like a print but it isn't" (Field, op. cit.). Gauguin would periodically send these "experiments" to Vollard, who offered them for sale, along with the artist's paintings, at his eponymous art gallery on rue Lafitte, then the nexus of the contemporary art world in Paris.In order to produce his monotypes, Gauguin applied printer's ink to a sheet of paper until it was covered, atop which a second sheet of paper was added and drawn upon, resulting in a line that varied with the hardness and thickness of the pencil (Field, op. cit.). This process, in which the free absorption of ink plays an integral role, yields an atmospheric image with a certain "patina of age" (Field, op. cit.).While these elements are well represented in the present work, Gauguin's true intention in creating Famille Tahitienne is perhaps better explained by an analysis of its technical composition. As Field states, "There exists another sophisticated monotype (no. 98) (…) Its sensitivity to positive and negative forms, and its heavy, bolder line argue for a more developed stage than the torso…It was squared during the process of drawing, that is, the verso was squared in pencil, with the consequence that the recto appears squared in the monotype" (Field, op. cit.).The process of "squaring," wonderfully visible on both sides of the present work, offers a fascinating glimpse into the mind of the artist at work. The main figure in the present monotype appears in three of Gauguin's works: La Soeur de Charité, 1902 (McNay Art Museum), Cavaliers sur la Plage II, 1902 (Fondation Beyeler, Basel); and in reverse in Famille Tahitienne, 1902 (Private Collection). This monotype offers a window into the creative process of one of the 19th century's most enigmatic artists, and is a pleasing, expressive image in its own right.
![Nikolai Konstantinovich Roerich (Russian, 1874–1947)Old Chapel in Valdai CountyTitled [in Cyrillic] "Watchtower in Pskov" on](https://cdn.globalauctionplatform.com/1ca15a8a-11cd-4f80-a973-ab4a01386869/401574eb-ba5b-44f5-97d3-ab4b010fee9b/468x382.jpg)
Nikolai Konstantinovich Roerich (Russian, 1874–1947)Old Chapel in Valdai CountyTitled [in Cyrillic] "Watchtower in Pskov" on original Louisiana Purchase Exposition label verso, oil on panel12 x 16 in. (30.5 x 40.6cm)Executed in 1903.PROVENANCE:Private Collection, California.EXHBITED:"The Louisiana Purchase Exposition" (also known as the "Saint Louis World's Fair"), Saint Louis, Missouri, April 30-December 1, 1904, no. 65 (per original label verso).NOTE:Nicholas Roerich is a towering figure in Russian painting of the late 19th and early 20th centuries. During his storied career, he was also an archaeologist, poet, lawyer, and philosopher who widely travelled-living in his native Russia, Finland, England, India, and America. He also achieved fame as a theater set designer, was a devout follower of mysticism, and was an ardent advocate for the preservation of cultural heritage, objects, institutions, and monuments. Begun as a private initiative, he is credited with developing proposals establishing what became known as the 'Roerich Pact:' an inter-American treaty signed into law in 1935 to protect cultural property in times of war.Born in St. Petersburg, Russia to an upper middle class family, Roerich showed an early aptitude for drawing and enrolled in the Imperial Academy of Arts in 1893. He later directed the Imperial Society for the Encouragement of the Arts. Considered a Russian Symbolist, he studied with the landscape painter Arkhip Kuindzhi. Said to have executed over seven thousand works during his lifetime, he was inspired by "historic sources: folklore, legends, and ancient monuments. But greater emphasis is placed by him on intuition and the penetration into the spirit of the Past" (M.S. Nanjunda Rao, Nicolas Roerich, New Delhi, 1992). In Russia, Roerich completed monumental paintings, church mosaics and frescoes. In 1903, when the present work was painted, Roerich and his wife Helena embarked on a forty city tour of ancient Russian cities.As noted in Nicholas Roerich, A Quest & A Legacy (Manju Kak, ed., New Delhi, 2013, pp. 11-12), the artist's work may be divided into three periods: his Russian period, his Theatrical Phase, and his Mountain Phase, the third following his arrival in Bombay in 1923. The present work was likely painted during the first of these phases and is part of a series of nearly seventy works referred to as the 'Architectural Studies' from his travels though old Russian towns. As Kak notes, "The deep patriotic-nationalistic roots of Roerich led to his search for Russia's pagan beginnings and folklore and they were the subject of his earlier paintings" (Kak, op. cit., pp. 192).Painted with rich applications of dark-toned impasto, the present work depicts an old chapel, its cupola apparently adorned with a cross, framed by the surrounding forest, invoking a spiritual, mystical ambience.
Eugène Boudin (French, 1824–1898)La Provende des PoulesSigned, located and dated 'E. Boudin/Fervaques 76' bottom left, oil on canvas14 x 10 3/4 in. (35.6 x 27.3cm)PROVENANCE:Collection of Ch. Ricada, Paris.Collection of Dr. Delineau, Paris.His sale, Hôtel Drouot, sale of February 1, 1901, lot 25.Acquired directly from the above sale.Private Collection.Private Collection, New York.LITERATURE:Robert Schmit, Catalogue Raisonné de L’OEuvre Peint d'Eugène Boudin, Galerie Schmit, Paris, 1973, Vol. I, no. 1146, p. 396 (not illustrated, listed as Cour de Ferme).NOTE:Normandy remained Boudin's land of predilection throughout his entire career-a safe harbor to which he would repeatedly return, wandering between Le Havre and Deauville in search of inspiration. The small, sixty-five-mile-long coastal river Touques particularly appealed to him. It was along its course, in the valley and in the surrounding villages, that Boudin planted his easel and painted for some forty years the same places and people, true to his desire to instantaneously capture atmospheric effects in places he already knew but enjoyed rediscovering under different lights. It is in Fervaques that Boudin painted the most from 1869 to 1897, staying with his friends Dr. Eugène Jaquette and his wife Stéphanie, who also hosted the Dutch painter Johan Jongkind (who first encouraged Boudin to work en plein-air) and supported local artists, buying and collecting their work. While in Fervaques, Boudin captured several views of the village, its market stall, and the nearby houses and farmhouses, as shown in the present work.In the middle of a closed farmyard, not too far from a well, a peasant woman is feeding a hungry group of roosters and hens at her feet. A tied-up horse can be seen behind her, resting under a small awning covered with brown tiles overhung by thick green foliage. The farmyard appears quiet, bathed in a soft morning light that delicately hits the walls of the old building to the left. The present work was completed after Boudin's sojourn to Berk and Boulogne, two northern cities that Boudin visited to try new motifs; it also precedes the artist's journey to the Netherlands, especially Rotterdam, where Boudin recorded the local fishermen and flower girls. The painting reminds the viewer not to neglect other, lesser-known aspects of Boudin's œuvre. Indeed, the artist did not only paint beaches and skies, but he also liked to depict Normandy's meadows and cows, its local inhabitants and their simple daily lives, rendering them with the utmost respect. Boudin here uses his trained eye to individualize each subject, from the chickens to the farm girl, depicting them with either finesse and detail, or through quick spots of color and energetic brushstrokes, contributing to the lively, yet timeless, picturesque atmosphere of the scene.
Rembrandt van Rijn (Dutch, 1606-1669)Saskia with Pearls in Her Hair1634. Etching on laid paper, New Hollstein's first state (of two), a very fine early impression with the finest lines printing very clearly, with good contrasts and trimmed marginsImage size: 3 5/15 x 2 5/8 in. (8.5 x 6.7cm)Sheet size: 3 5/15 x 2 5/8 in. (8.5 x 6.7cm)[Bartsch 347; Hind 112; Hollstein 347; New Hollstein 136]PROVENANCE:Collection of Viscount Fitz-Harris, Earl of Malmesbury (per pencil-inscribed name verso, not in Lugt).Private Collection, Maryland.NOTE:The subject of the present etching is Saskia Uylenburgh, daughter of a wealthy Leeuwarden burgomaster. Orphaned, she went on to live with her relative, the art dealer Hendrick Uylenburgh, who introduced her to Rembrandt-whom she married in 1634. Saskia with Pearls in Her Hair was executed during the couple's first year of marriage, hence her outfit, which may be bridal attire as she is depicted here with pearls woven into her hair and hanging from her neck and ears, along with a gown and stylish lace kerchief.
![Paul Signac (French, 1863–1935)Petit Andély, Château GaillardSigned, located and dated 'P. Signac/Petit Andely [sic] 1923' bo](https://cdn.globalauctionplatform.com/1ca15a8a-11cd-4f80-a973-ab4a01386869/56bd9154-470b-44d3-9ccd-ab4b010fa253/468x382.jpg)
Paul Signac (French, 1863–1935)Petit Andély, Château GaillardSigned, located and dated 'P. Signac/Petit Andely [sic] 1923' bottom right, watercolor and pencil heightened with white gouache on paperSheet size: 10 x 16 in. (25.4 x 40.6cm)PROVENANCE:Collection La Faille, Paris.Charles E. Slatkin, New York, New York.Acquired directly from the above.Private Collection, New York.EXHBITED:Santa Barbara Museum, 1959 (per label verso).San Diego Museum, 1960 (per label verso).NOTE:In early June 1886, Paul Signac moved to the small town of Les Andelys in Normandy, not too far from Giverny. The artist was first introduced to the beauty of this quaint area by Camille Pissarro, who lived in the nearby village of Éragny-sur-Epte. There, Signac completed a series of exactly ten landscape paintings in which he explored the full potential of his new pointillist approach, applying small dots of pure color directly onto the canvas rather than blending them on a palette. Upon his return to Paris in the fall, Signac showed four of his works at the Salon de la Société des Artistes Indépendants, much to the public's surprise. Art critic Félix Fénéon praised them for their special luminosity and their boldness: "The colours provoke each other to mad chromatic flights-they exult, shout!" (Félix Fénéon, Les Impressionnistes en 1886, Paris, 1886, p. 301, quoted in Marina Ferretti, Signac 1863-1935, New York, 2001, p. 121).While Les Andelys served as the subject of Signac's early pointillist canvases of 1886, it would also be revisited during a period in which Signac was utilizing the watercolor medium to achieve new artistic effects. The present work, painted upon the artist's return to the town in 1921, is an example of Signac's efforts to develop a satisfying synthetization of color and forms. Executed en plein-air along the banks of the river Seine, the work revisits many of the motifs that Signac found attractive in Les Andelys in his earlier paintings, such as the verdant greens of the grassy bank, the shimmering water, and a glaring summer sky. Yet, in contrast with these earlier works in which Signac depicted peaceful town at water's edge, the viewer here is presented with a more dramatic landscape view dominated by the ruins of Château Gaillard, a 12th century fortress built by Richard the Lionheart, which hover impressively over the quiet village.The artist paints an embankment in the foreground to draw us into the scene, creating depth in the landscape and offering a perspective akin to that of the artist when he completed the work. We then find the intense greens of the trees along the left bank and the white, hazy-bright sky, which serve successfully as a frame for the ruins of the château, proudly standing in the center of the composition as its sole, pyramidal focal point. The reflection of the ruins upon the water in the foreground further amplifies this effect and provides the viewer with the illusion that they can almost seize the ruins, beckoning us to return to the scene once more.The work showcases a new freedom in Signac's graphic style, somewhat distanced from the earlier exactness of Pointillism. The artist here is more interested in l'effet d'ensemble rather than the recording of every aspect of the town in front of him. The deliberately muted tones of the scene, combined with the artist's use of faint pencil lines, work to create a monochromatic ensemble, a sense of harmony and timelessness pleasing to both the mind and the senses. The work is very much an elaboration of Signac's contemporary research (particularly of his obsession with water), but it also reveals the artist's long-standing sympathies toward the medieval town, perhaps betraying the slightest sense of nostalgia.We wish to thank Ms. Marina Ferretti for confirming the authenticity of the present lot. The watercolor will be included in the forthcoming new edition of the Catalogue Raisonné of the artist’s work, and will be accompanied by a Letter of Authenticity.
![Édouard Léon Cortès (French, 1882–1969)Le Moulin Rouge, Place BlancheSigned 'EDOUARD [sic] CORTÈS.' bottom right; also with '](https://cdn.globalauctionplatform.com/1ca15a8a-11cd-4f80-a973-ab4a01386869/8800cfaa-9a8e-40fc-8dd2-ab4b011002b0/468x382.jpg)
Édouard Léon Cortès (French, 1882–1969)Le Moulin Rouge, Place BlancheSigned 'EDOUARD [sic] CORTÈS.' bottom right; also with 'copyright' stamp verso, oil on canvas13 x 18 in. (33 x 45.7cm)Executed in 1956.PROVENANCE:Galerie F. Clair, Paris (1956).Acquired directly from the above on January 2, 1957.Herbert Arnot Inc., New York, New York.Acquired directly from the above on January 18, 1957.The Haussner's Restaurant Collection, Baltimore, Maryland.Sotheby's, New York, sale of November 2, 1999, lot 132 (B).Acquired directly from the above sale.Hammer Galleries, New York, New York.Acquired directly from the above in 2000.Private Collection, Bronxville, New York.EXHIBITED:Hammer Galleries, New York, New York, 2000.LITERATURE:Hammer Galleries, An Exhibition Catalogue, 2000, no. 26869-002, p. 28.Nicole Verdier, "Paris 1940-1969," in Édouard Cortès, Catalogue Raisonné de l'Oeuvre Peint, Vol. II, Contexte, Paris, 2002, no. 865, p. 204, (illustrated).NOTE:Édouard Cortès was born in the small village of Lagny-sur-Marne in 1882. The son of famous Spanish court painter Antonio Cortès, he trained in his father's studio from the age of thirteen. Although his hometown was sparsely populated, its proximity to Paris attracted many Parisian artists associated with the Barbizon school, who came to paint its adjoining forests. It also enabled the Cortès family to travel to the capital and keep up with the latest artistic trends.By 1900 Cortès had executed his first series of Paris street scenes, all marked by a dark, dramatic lighting. At the time, Paris was the center of the art world, a bustling international city that attracted artists, dealers, and collectors from around the globe. City scenes were particularly in demand, and Cortès, alongside painters like Jean Béraud and Eugène Galien-Laloue, wisely decided to make this genre his niche. Through his bold brushstrokes and colorful palette, Cortès was able to render the City of Lights with an Impressionistic delicacy, at the same time respecting the fundamental rules of perspective and composition he had learned from his father.He became the most famous poetic recorder of the city's ever-changing beauty, and in a career spanning more than sixty years captured its fashionable inhabitants, busy market stalls, and iconic monuments. Biographer David Klein writes: "Paris changed during the years that Cortès painted it; and the changes appear in his paintings. Horses and carriages disappear in favor of cars and trams; women's hourglass silhouettes and picture hats give way to boyish figures in short skirts and little furs, gas streetlights turn into neon signs and glaring headlights. But despite two world wars and the introduction of the machine age, the Paris of Cortès remains primarily the city of the Belle Époque. His paintings are often filled with nostalgia for the period." (David Klein, Édouard Cortès: Le Poète Parisien de la Peinture, Detroit, 1999 quoted in Mary Manion, "Esteem is Rising for Édouard Léon Cortès" in Antique Trader, September 14, 2018).After a lifelong dedication to capturing the magic of Paris during its transition from the Belle Époque to the modern era, Cortès ultimately retired to his hometown, where he continued to paint more picturesque scenes until his death in 1969.Since the Moulin Rouge opened its doors to the public in 1889, the famous cabaret in Montmartre has drawn large crowds of fashionable Parisians in search of guilty pleasures nowhere else accessible. Of the many Parisian views that Édouard Cortès completed, often depicting Notre Dame, Opéra Garnier or Boulevard de la Madeleine, only a handful of paintings and studies feature the Moulin Rouge. This excitingly rare work is one of the finest and earliest examples of Cortès’ bold, painterly style. Executed some ten years before the artist’s death, the painting skillfully captures the glowing red exterior of the cabaret juxtaposed against a dark sky, offering a glimpse of the temptations to be found within. The windmill’s striking silhouette, surrounding street lamps, and nearby facades inundate the passersby in the foreground with a warm, golden light that compels them to enter the Moulin Rouge, perhaps also tempting the viewer to leap into the picture plane and join them.
Armand Guillaumin (French, 1841–1927)La Promenade (Une Rue en Ile-de-France)Signed 'Guillaumin' bottom right, oil on canvas25 3/4 x 32 in. (65.4 x 81.3cm)Executed circa 1875.PROVENANCE:(Possibly) Wildenstein & Co,, New York, New York (per chalk inscription verso).Private Collection, Maryland.NOTE:Armand Guillaumin was a founding member of the group that organized the first Impressionist exhibition in 1874. Between 1874 and 1886, his paintings were included in six of the eight Impressionist exhibitions. He also exhibited works in the first Salon des Refusés in 1863, along with Camille Pissarro and Paul Cézanne. Guillaumin's paintings are prized for their color "described as 'fauve'" (Christopher Gray, Armand Guillaumin, Chester, 1972, p. 49) and delicate application of impasto. Toward the end of his career, he had a one-person show with Paul Durand-Ruel, selling fifty-four of the sixty-four oil paintings on offer. In 1906, he was elected president of the section of paintings in the new Salon d'Automne.The present painting depicts two elegant ladies walking along a promenade, counterbalanced by a large cluster of trees beyond a hillside containing a portion of a house. Here, Guillaumin's "very personal vision of color" (Gray, op. cit., p. 49) is on full display. As Gray notes: "If Monet's late works have the illusory quality of dreams, and in spite of their color, an almost elegiac quality of mood, Guillaumin's paintings are rejoicing paeans to the beauty of nature (…) His paintings are executed directly (…) and little sign of hesitation. As he was recording his direct response to the scene before him, he never worked on a canvas except in front of the motif" (Gray, op. cit., p. 49).We wish to thank Le Comité Guillaumin (Dominique Fabiani, Stéphanie Chardeau-Botteri, Jacques de la Béraudière) for confirming the authenticity of the present lot. The painting will be included in the second Volume of the Catalogue Raisonné of the work of Armand Guillaumin, and accompanied by a Certificate of Authenticity.
Vacheron & Constantin. A fine 18K gold manual wind chronograph wristwatchReference: 4072Date: Circa 1945Movement: 19-jewel Cal.V492 manual wind, column wheel chronograph, No.470042Dial: Champagne, applied faceted baton hour markers, Roman numeral 6 and 12, black outer 1/5 second divisions, outer tachymetre scale, subsidiary dials at 3 and 9 for 30-minute recording and constant seconds, polished pointed baton hands, blued steel centre chronograph handCase: Brushed and polished round, snap on back, downturned lugs, crown flanked by twin pushers, No.365841Strap/Bracelet: Black calf skinBuckle/Clasp: Associated buckleSigned: Case, dial & movementSize: 35mmFootnotes:In production for over 30 years, the reference 4072 was first introduced in 1938. It is believed that Vacheron Constantin produced just 214 examples in yellow gold with the calibre 492 as found in the current lot. This particular example hails from the earlier period of production with a serial number taking it to circa 1945. Over the years Vacheron released several different iterations of this reference until it was discontinued in the 1970s.For further information on this lot please visit Bonhams.com
International Watch Company. A stainless steel automatic calendar bracelet watchModel: IngenieurReference: 866 ADate: Circa 1970Movement: Jewelled Cal.8541 automatic, No.1831479Dial: Sunburst silvered, applied polished baton hour markers, outer minute divisions, date aperture at 3, polished pointed baton hands with luminous inserts, centre secondsCase: Brushed and polished round, screw down back, inner soft iron cap, No.1812315Strap/Bracelet: Gay Freres linkBuckle/Clasp: Signed folding clasp, stamped 4 69Signed: Case, dial & movement Size: 36mm Accompaniments: International Watch Company box, service paperwork dated April 2019Footnotes:'Ideal for all professional men who require a watch which is fully reliable, accurate and trouble free under all conditions.'It's been 50 years since the International Watch Company first introduced the Ingenieur as their first automatic, antimagnetic watch. With its sporty design the watch has become a classic among collectors. The countless dial variations only add further to the collectability of this timeless tool watch. The famous Ingenieur arrow logo can be seen on the dial of the watch and alludes to electrical warning signs posted in places with strong electro-magnetic currents. This was exactly the environment that anti-magnetic watches, which were protected against magnetic fields, were created for.For further information on this lot please visit Bonhams.com
Omega. A limited edition stainless steel automatic calendar chronograph bracelet watchModel: Seamaster Beijing Olympics 2008Reference: 178.1112, Limited Edition No.724/2008Date: Circa 2008Movement: 33-jewel Cal.3301 automatic, adjusted to 5 positions, No.78125232Dial: Black, polished baton hour markers, white outer 1/5th second divisions and base pulsations scale, silvered subsidiary dials at 3, 6 and 9 for seconds, 12 hour and 30 minute recording, polished lance hands with luminous inserts, centre chronograph hand with Olympic rings to baseCase: Brushed and polished tonneau form, screw down back, Beijing 2008 Olympic Games logo to back, twin chronograph buttons, No.78125232Strap/Bracelet: Brushed and polished 1578/950 Omega linkBuckle/Clasp: Signed deployant claspSigned: Case, dial & movement Size: 42mm Accompaniments: Omega box, outer card, International warranty, Limited series, Pictograms and Chronometer certificate cards, operating instructions, spare links, swing tagFootnotes:Omega has a very special relationship with the Olympic Games and was the first company ever appointed Official Timekeeper for all Olympic disciplines, dating back to when it supplied watches for use in the 1932 Olympics in Los Angeles.The Beijing Olympic Games in 2008 marked its 23rd appearance at the Games- far more than any other watch manufacturer. To celebrate the Olympics in Beijing, Omega released a number of limited edition pieces from its Seamaster, Constellation and De Ville ranges.For further information on this lot please visit Bonhams.com
Moritz Grossmann. A stainless steel manual wind wristwatch with unique hand engraved balance cockModel: Atum PureReference: MG-002064Date: Purchased 10th September 2018Movement: Hand finished 20-jewel Cal.201.0 manual wind, No.1121Dial: White lacquer, applied polished dart hour markers, black outer 1/5th second divisions, subsidiary seconds at 6, polished dagger hands with luminous insertsCase: Polished round, exhibition back secured by 7 screws, button at 4 for unlocking time adjustment, No.11111Strap/Bracelet: Dark grey Moritz Grossmann alligator leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movement Size: 41mm Accompaniments: Moritz Grossmann box, outer card, Guarantee, Instruction manual, polishing cloth, travel pouchesFootnotes:Moritz Grossmann, under the leadership of Christine Hutter, are now recognised as one of the emerging power houses when it comes to German watchmaking. Synonymous with simplistic, clean designs, Moritz Grossmann excel at producing timepieces that embody exactly what can happen when you pull back to essential functions without yielding on quality.The Pure range embodies this mantra and in 2013 they introduced the Atum. Atum was the first of the Egyptian gods, creator of the universe and all other deities. With such an empowering source of inspiration the simplistic boldness of Moritz Grossmann speaks volumes when it comes to what their aspirations for the future are.The current lot features a unique hand engraved balance cock akin to the finishes executed in their 'high art' range. Offered for sale by the original owner, this example is the first Moritz Grossmann to be offered in a Bonhams Watch Auction to date.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Blanc Fils, Palais Royal. A very fine and unusual key wind open face quarter repeating pocket watch with five automaton'The Knife Grinder'Date: Circa 1815Movement: Gilt full plate verge, pierced and engraved balance bridge, silver regulation with blued steel handDial: Central automaton scene depicting a workman grinding a knife whilst a young figure attends to the grinding wheel set within an arch, two putti sit above striking on two bells, black Arabic numerals to white enamel surround, outer minute divisions, black handsCase: Polished round hinged, reeded band, repeat and automaton activated via stem, No.3211Signed: Cuvette, case stamped PGSize: 57mmFootnotes:The current lot, coined 'The Knife Grinder' or 'Le Rémouleur' combines two striking Jacquemarts and an animated scene with four automatons; to the left, a knife grinder sharpening his knife on his grindstone by moving his arms up and down and behind him, his apprentice driving his larger grinder wheel by hand, thus turning the grindstone; all functions activated simultaneously by the plunge repeat. Automaton pocket watches like these were particularly popular during the first half of the 19th Century and were exported throughout the world.For further information on this lot please visit Bonhams.com
VINTAGE BOOKS - a boxed quantity, including Volumes 1 and II Baldwins Itinerary through Wales by Giraldus De Barri 1188, translated into English by Sir Richard Colt Hoare Bart printed by W Bulmer & Co, London 1806, Second World War, Winston S Churchill, six volumes, First Editions 1954 and 'From Journalist to Judge', an autobiography by Frederic Conde Williams 1903 ETC
TWO GENTLEMAN'S RINGS, the first a 9ct gold ring, the central rectangular panel with engraved Masonic square and compasses, the swivel panel with engraved monogram to the reverse, with 9ct hallmark for Birmingham 1977, ring size T, the second ring set with black rectangular panel assessed as onyx, stamped '10k RS', ring size R1/2, approximate total weight 11.5 grams
TWO RINGS, the first designed with three single cut diamonds to the tapered shoulders, estimated total diamond weight 0.12cts, stamped 9ct, ring size H 1/2, the second designed as rose gold with a central oval cut amethyst in collet mount to the plain polished band, with 9ct hallmark for Birmingham, ring size Q 1/2, approximate total weight 4.7 grams
TWO PAIRS OF EARRINGS, the first designed as a circular early 20th Century panel set with split pearls, suspending a central spherical bead, to the later added metal ear hooks, lengths 50mm, (one spherical bead dented), the second designed as a central blue cabochon within a split pearl scalloped surround, stamped 375, lengths 27mm, approximate total weight 9.6 grams (one earring missing one split pearl and two replacements with white beads)
TWO 9CT GOLD WRISTWATCHES AND A STERLING SILVER WATCH CASE, first is a 1920's 9ct gold cased wristwatch hallmarked Chester 1921, fitted with a rolled gold bracelet, second is 1930's rectangular cased wristwatch, case hallmarked London 1938, fitted with an expandable bracelet, approximate gross weight 33.2 grams, also included is a silver watch case and movement, case hallmarked London import mark for 1914, approximate weight 26 grams
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