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Click here to subscribeJames Bond - S.T. Dupont 007 PVD Gun Metal Collectors Set from 2004, Limited edition of only 107 sets, 7 Pieces including - Table lighter (Jeroboam) in black PVD-coated Gun metal, Line 2 lighter (black PVD-coated Gun metal), Gatsby lighter (black PVD-coated Gun metal), Fountain Pen (black PVD-coated Gun metal), Ballpoint Pen (black PVD-coated Gun metal), Key chain (bullet), Cufflinks (bullet), with paperwork, all housed in presentation case, 39 x 24 x 7 cm.
James Bond Casino Royale (2006) S.T. Dupont Limited Edition collectors Poker set. This limited edition set includes a full unused chip sets, two sets of playing cards, lighter, dealer chip and S.T. Dupont plaque 065/307. All cased in an embossed leather case, with original outer box. 36 x 29 x 8 cm. Condition Report: Boxed as new.
James Bond Casino Royale - S.T. Dupont Paris, Line 2 limited edition Tuxedo lighter in the original fitted case, The lighter, inspired by the tuxedo worn by Daniel Craig / James Bond in the movie, is finished in black Chinese lacquer with a stripe that evokes the satin braid of the tuxedo worn by 007 in the movie. Palladium (platinum) trimming. Number 0136/2007 with guarantee card, booklets, outer cover. 15 x 15 x 8 cm.
HOOKY'S ZIPPO LIGHTER COLLECTION & SILVER RING. Collection of 10 lighters (many with inscriptions) and a silver ring bearing "Hooky" inscription. Interestingly one has number 7 which was the original name for the album Get Ready.The ring was a present from my great friend Hector, from Mexico. The last time we played as ‘The Light’ he told me, "You did well Peter, you got 4998 people! Not as many as last weeks act tho". "Oh," says I, "Who was that signor?" He smiled, "The Stone Roses, they got 5000." The lighters were mainly gifts from many lovely people... No.7 was the original title for ‘Get Ready’ and was done as a gift to all involved on finishing the LP at Anne Seymour's house in Bath. I do not smoke now. All proceeds to The Christie Cancer Charity.
JOY DIVISION "FACT 10 1979 2019 40" MERCHANDISE RANGE. 9 items to include large blanket/throw, cushion, ceramic plate, a ceramic mug, phone case, lighter, t-shirt (L), tote bag and another t-shirt (XL - Bella-canvas label in support of CALM). Also includes pages of designs for the merch range.Apparel...
Quantity of smoking paraphernalia inc Ronson aeroplane lighter, two Bakelite cigarette dispensers etcCondition report: The plane lighter does spark, the metalwork is a little tarnished with some light scratches, the spherical cigarette dispensers, each with flea bite chips to the three black fold-out arms, the green example with a very minor hairline forming to the green body at the base of one of the fold-out arms, each with a few surface scuffs, the Queen Mary ashtrays each with minor damage to the bowls through use and each with flea bite chips to the back rims, the purse form cigarette case has been repaired with adhesive which has discolored with age, the first clasp with some light scratches and one or two very minor chips
Full title: Italian school, circle of Giambattista Tiepolo, grey-brown wash on paper, late 18th C.: Study of a cow and of four turbaned men's headsDescription: Dim.: 15,5 x 7,5 cmÊ On the front: the drawing is signed on the bottom right. Depicted is a bull, relatable to a drawing in the National Gallery of Art, Accession Number 1983.45.1. (link available on our website) A study of a cow with a study of a bearded man on the back was with Galleria Cortona. (link available on our website)On the back: depicted are four Venetian elder males, with a long beard and typical late baroque head dresses. Tiepolo liked to observe his subjects in daily life scenes before placing them in his religious or iconographical settings.Ê Expert: Cabinet Rene Millet.Ê Provenance: (same for lots 447, 451, 455, 456, 457, 458, 459, 460)- A Belgian private collection.- Acquired in the art market, according to the previous owner all removed from the same late 19th C. album acquired in London.Ê Born in Venice in 1696 to a prosperous merchant, Giovanni Battista (Giambattista) Tiepolo chose to pursue a career in painting. He was taught by Gregorio Lazzarini (1655-1730), studying under him probably c. 1710. In 1717 he was inscribed in the Venetian painters guild as an independent painter. His earliest dateable works, in the Ospedaletto, Venice (1715-1716), do not display the classical compositions and smooth finish characteristic of Lazzarini's paintings, but rather the avant-garde tenebrism of Federico Bencovich (1677-1726) and Giovanni Battista Piazzetta (1683-1754). Much controversy surrounds the course of Tiepolo's development in the next fifteen years in which there are few dated paintings. Knowledge of his activities in the teens and twenties comes mostly from Vincenzo da Canal's biography of Lazzarini (1732), in which the author devoted several pages to the talented pupil whose popularity had soared in the previous decade. During these early years Tiepolo experimented with various styles simultaneously, and recent scholarship based on da Canal's listing of Tiepolo's paintings prior to 1732 has shown that the artist vacillated between the tenebrism practiced by many Venetian contemporaries and a lighter, more atmospheric style. As early as c. 1716 Tiepolo was practicing the art of fresco painting on the terrafirma, a technique reintroduced into the Veneto in the late sixteenth century by non-Venetian artists. His grandest decorative cycle of the period, painted for the Archbishop's Palace in Udine (c. 1726-1729), reveals his interest in Veronese's color and compositions.Ê Tiepolo's frescoes in Udine brought him immediate fame and commissions for further decorative ensembles. In the next ten years he painted and frescoed in palaces and villas in and around Milan, Bergamo, Venice, and elsewhere in the Veneto, the subjects of which derive mostly from ancient history. With the Bolognese quadrattura painter Girolamo Mengozzi-Colonna (c. 1688-c. 1766), who designed his architectural surrounds, Tiepolo revolutionized the art of fresco decoration in Venice by combining the deep perspective of Venetian cinquecento ceiling decorations with a compositional clarity that connected the diverse elements of the design into a greatly expanded pictorial space. Unlike their direct precedents in which forms were arranged haphazardly across the ceiling, Tiepolo's compositions are ordered in zig-zag patterns that expand the illusionistic view into the heavens. By 1740, after conquering towering church ceilings such as the Gesuati, Venice (1737-1739), with this method, he brought figures closer to the spectator in long, low secular rooms by distributing his deeply colored figures along the cornice and contrasting them with increasingly lighter pastel hues in the open skies (Palazzo Clerici, Milan, 1740). In the same years Tiepolo developed as an artist of religious altarpieces, in which he captured counter-reformatory devotional images in a neo-Renaissance format.Ê Tiepolo's fame and prices increased further in the 1740s. He moved several times during his career, always to grander quarters, which he shared with his wife Cecilia, the sister of Francesco Guardi and their nine children. The artist had already rejected an invitation to Sweden in 1736, and now his paintings were being requested in northern Europe. His friendship with Francesco Algarotti (1712-1764), whom he met in 1743, brought him commissions from the Saxon court of Dresden. Although always inspired by ancient history, in this period Tiepolo turned increasingly to representations of antique monuments and dress. At the same time, he took up etching, producing two sets of prints - the Scherzi di fantasia and the Capricci - both heavily laden with antique references.Ê External political forces kept foreigners from Venice in the second half of the 1740s, causing an economic slowdown in the city and compelling Venetian artists to seek employment abroad. Although Tiepolo was so active in this decade that he enlisted the help of his son Giovanni Domenico (Giandomenico, 1723-1804), he nevertheless accepted the lucrative invitation to work for Prince Bishop Carl Philipp von Greiffenklau of Wuzburg in the archiepiscopal palace, where he resided from late 1750 to 1753. There he produced what is considered his greatest triumph, the enormous ceiling fresco in the grand staircase with Olympus and the Four Continents (1752-53). Another son, Lorenzo (1736-1777), less talented than Giandomenico, also accompanied his father to Würzburg as a helper.Ê In the 1740s and 1750s, Tiepolo's expanded repertoire included literary, historical, mythological, allegorical, as well as religious works. He continued to produce masterpieces in both Venice and the Veneto, such as the story of Antony and Cleopatra in the Palazzo Labia, Venice (1746-1747), and the scenes from Tasso in the Villa Valmarana, Vicenza (1757). Commissions from abroad continued: Tiepolo sent works to the kings of France and England and the czarina of Russia. In 1761, King Charles III of Spain requested Tiepolo's services to paint in the newly completed Royal Palace in Madrid. Due to political pressures and in spite of his age and illness from the gout, Tiepolo set off on his last journey in 1762. Although his large ceiling fresco for the Throne Room in the Royal Palace, Madrid (1762-1764) has been criticized as a reworking of earlier compositions, its breadth and sophistication mark it as one of his late successes. His altarpieces for San Juan Baylon at Aranjuez (1767-1769) reveal an old age style of simply presented but deep religious meditation and emotion.Ê About the time of Tiepolo's death in Madrid in 1770, the taste for dramatic allegorical subjects and passionate religious themes had faded throughout Europe in favor of a severe neo-Classical style that reflected the new rationalism of the period. By the end of the century, with the fall of monarchic power and lessening influence of religious institutions, Tiepolo's art was outdated. Even his son Giandomenico had taken up more objectively motivated themes and a realistic style. In spite of this, Tiepolo is recognized today as one of the most brilliant and celebrated artists of the eighteenth century and the last of the great practitioners of the Renaissance and Baroque tradition. (source: National Gallery of Art - link)Condition reports and additional images:The absence of a condition report does not imply that a lot is in perfect condition. Reports are published on request, on our website www.rm-auctions.com. High resolution images, further detailed images and natural daylight images, when requested, will be made available on our website www.rm-auctions.com. Further questions are always welcome at info@rm-auctions.com
CASQUE PYLOS, BRONZE, GRANDE GRÈCE, CIRCA 2NDE MOITIÉ DU IVE S. AV. J.-C. A GREEK BRONZE PILOS HELMET, MAGNA GRAECIA, CIRCA 2ND HALF OF THE 4TH CENTURY B.C., of conical form with rounded dome, an encircling rib above the broad rim, 24cm high, 19cm wide, 23cm deepFootnotes:Provenance:Axel Guttmann (1944-2001) collection, Berlin. Antiquities from the Axel Guttmann Collection and Other Properties; Hermann Historica, Munich, 23 April 2009, lot 328.Such helmets were first used in Sparta at the end of the 5th Century B.C., as the Peloponnesian War drew to a close. These lighter, simpler helmets offered all-round vision, as well as being cheaper to make.For further information on this lot please visit Bonhams.com
A collection of vintage retro 20th century smokers items / collectors items to include brass lidded cigarette box of a rectangular form with single handle atop, twin glazed hinged lids and cedar wood lined to the interior together with a 1960’s wind up musical Japanese lighter by Muselite prince along with an original 1907 WWI Inco IFA brass trench art lighter made in Austria patent number 10507 and a novelty Allivette pipe with plated bowl, Horne stem and mouth piece. Measures 12 cm tall.
Registration No: W779 PFM Chassis No: WDB2153752A006253 MOT: September 2022Only 73,715 miles from new and six former keepersOffered with book pack including stamped service bookWell-specified from new with options including ‘Keyless Go’5-litre V8 (quoted 302bhp/339lbft) with automatic transmissionIntroduced in 1992, the CL Class was the coupe derivative of the S-Class saloon powered by a range of power plants including a 5.0 V8 as offered here. Many consider this unit one of the all-time best that Mercedes have produced. With better handling due to a lighter front end than its V12 siblings, 0-62mph was achieved in 6.1 seconds with a potential autobahn-storming top speed of 155mph.Manufactured in 2000, the CL 500 was registered in the UK on the 5th of May 2000 and is fitted with the 4966cc V8 engine mated the five-speed automatic transmission. Finished in Circon Green paintwork with Saffron leather interior upholstery, the Mercedes-Benz has covered just 73,715 miles (at time of consignment), with six former keepers. ‘W779 PFM’ was well-specified from new with features including wooden gear selector, keyless go, multi-contour front seats, CD changer, heated screen wash system and xenon headlights.‘W779 PFM’ is offered with the original book pack with owners manual and stamped service book displaying nine entries along with additional service invoices in the history file. The CL 500 was most recently serviced by GermanSpares of Sheffield at 70,621 miles and is further accompanied by a large selection of MOT’s dating back to 2002 and a large collection of invoices.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: KSS 66P Chassis No: G-D2D1/2255-G MOT: ExemptOne of just 2,591 genuine factory V8's manufacturedHome-market, right-hand drive exampleSubject to much restoration work since entering into current ownership in 2013Accompanied by history file including BMIHT Heritage CertificateA more powerful alternative to the MG B came in 1973 with the introduction of the B V8 - a GT-only variant powered by the ubiquitous 3528cc Rover V8 unit. Though inspired by the conversions carried out by independent tuner Ken Costello, the factory V8 cars were somewhat less tuned, producing 137bhp rather than 150bhp – the output was nevertheless sufficient for a sprightly 0-60mph time of around eight seconds and a top speed of 125mph. As the all-alloy Rover engine was lighter than the cast-iron BMC unit, no significant changes were required to the rest of the car. Production of the V8 was curtailed in 1976 (reputedly over BLMC's concern it would affect sales of other products - in particular, the dearer, less powerful Triumph Stag) after some 2,591 had been built.This MGB GT V8 was manufactured in 1975 and was supplied new via Stewart & Ardern Ltd. of London on the 24th of April 1975. One of just 2,591 genuine factory V8's manufactured, it is fitted with the 3528cc V8 engine mated the four-speed manual transmission with overdrive, the MG is finished in Glacier White paintwork with Black leather interior upholstery. Specified from new with cast alloy wheels, ‘KSS 66P’ entered into current ownership in 2013 having been retained in the previous ownership from 2001 until 2013 and has a recorded mileage of 75,845 miles (at time of consignment).The subject of extensive restoration just before entering current ownership which included the inner and outer sills; passenger and boot floor; rear valance; inner arches; jacking points; rear springs; fuel tank and a new clutch. Since entering into current ownership, ‘KSS 66P’ has benefitted from much further restoration encompassing a full repaint; Webasto repairs; chrome bumper conversion; rear brake overhaul; electronic ignition; power steering fitment; an interior refresh and much further mechanical work with a very large quantity of invoices on file relating to said restoration work. The history file further contains many older invoices; MOT certificates dating back to 1986; the aforementioned BMIHT heritage certificate and a current V5C.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: D26 SNSChassis No: WDB1260392A285757MOT: April 2022Extensively restored over the past five years including a full respray by Paintology Ltd of Nottingham, automatic gearbox refurbishment by Oakdene Automotive Transmission and mechanical fettling by MercServe and Elm Tree GarageAttention paid to the brake, suspension, ignition and fuel systems not to mention an upgrade to the air conditioning plus new internal bulbs for the instrument cluster etcNew front headlight wipers and arms, seat adjustment buttons, wood trims etc etc etc Built to order number 0653778372 during September 1986, chassis 285757 was originally finished in Diamond Blue Metallic with Blue Velour upholstery. Specified with a Becker Mexico stereo, folding front armrest and rear footrests, the luxury saloon had covered some 100,000 miles by the time that the present registered keeper acquired it in 2016. Extensively restored over the past five years, work included a full bodywork refurbishment by Paintology Ltd of Nottingham, rejuvenated driver’s seat, factory replacement steering wheel, new interior wood (except the door cappings), fresh seat adjustment buttons and new internal bulbs for the instrument cluster etc. Riding on refurbished and powder coated alloy wheels shod with fresh tyres, ‘D26 SNS’ also gained new front indicator lenses and rear lights plus tinted windows and replacement headlight wiper arms / blades. Mechanically, the 560 SEL benefitted from an automatic gearbox overhaul by Oakdene Automotive Transmissions of Nottingham not to mention attention being paid to its brakes (pads, parking brake shoes, lines), fuel injection, ignition (uprated alternator, spark plugs / leads), fuel (pumps, lines), suspension (front shock absorbers, rear self-levelling hydraulics) and air-conditioning (new condensor radiator, conversion to current refrigerant gas). Said to have been ‘fully serviced by Mercserve and Elm Tree Garage of Nottingham using original parts supplied by Mertrux of Derby’, the Mercedes-Benz has only covered 3,000 miles or so since its rejuvenation. Given a thorough Lanoguard underbody treatment, this imposing 560SEL is offered for sale with V5C Registration Document, history file and a ‘no advisories’ MOT certificate valid until April 2022. Introduced at the Frankfurt Motor Show in September 1979, the new W126 S-class was a quantifiable improvement over its W116 predecessor. Lauded by the contemporary motoring press as the 'best car in the world', it was not only lighter than its forebear but also offered an improved ride and sharper handling. Styled by Bruno Sacco, its sleek silhouette hid all round independent suspension, disc brakes, power assisted steering and a range of powerful all alloy V8 engines (later supplemented by more fuel efficient straight-sixes). Beloved by heads of state, captains of industry and celebrities alike, the W126 remains sought after to this day thanks to its impeccable build quality and timeless lines. Current between 1985 and 1992, the flagship 560 SEL model was powered by a 5547cc SOHC V8 engine that developed an unfussed 296bhp and 336lbft of torque; outputs sufficient to propel the long wheelbase saloon from 0-60mph in 6.9 seconds and onto 155mph. Despite a price tag of £75,000 (equivalent to over £185,000 in today's money), the luxurious 560 SEL accounted for an impressive 75,071 sales with most being to left-hand drive specification.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737
To include: a gilt metal mounted bracelet; a gilt metal buckle; a silver-gilt presentation key; livery buttons; a and three pairs of gold cufflinks and an odd one; various shields and badges; gilt lighter; small silver golfing medal and a part cased set of silver mounted hunting buttons with painted decoration; and a small silver-gilt presentation key (quantity)
To include: a large sugar caster, Geo. Angel, London 1890, of plain octagonal baluster form in the George I manner; a Jersey milk pail, later replacement chrome cover; a small Victorian table cigar lighter, of vase form; together with a Victorian small cream jug, in George II style, raised on three short legs, front section of lip lacking
An early 20th century black ostrich feather fan, with simulated tortoiseshell sticks, length 47cm, in original box for 'J Duvelleroy of 167 Regent Street W', two later Continental fans, a 1930s velvet embroidered belt, a pair of 1930s silver sling-back open-toed shoes by Dolcis, a Victorian beaded bag (af), a pair of white kid leather gloves and a pair of fine stockings. CONDITION REPORT Additional fans are both woodenthe black fan with material the lighter is painted and with material top
A collectors' lot to include a coin bracelet, a Calibri table lighter, plated ware to include cruet set, ladle, ornamental boats, cased pair of spectacles, various gentlemen's cufflinks, a decorative Turkish dagger, a Spitfire commemorative keyring, an enamelled Princess Diana commemorative large coin, a four coin British Coin Set on board, various costume jewellery to include brooches, a compass in leather case, etc.
Various items of gentlemen's jewellery, mostly golfing related and with Liverpool golfing interest, to include cufflinks, enamelled pins, silver bar, lapel pins, tie pins, tie clips, studs, collar studs, a medal for 'The Society of Liverpool Golf Captains', letter opener, a Ronson cigarette lighter, various commemorative coins, etc.
Various smoking collectibles to include an oak pipe rack with an applied decal of a huntsman and fox, seven various pipes, including one with the bowl modelled as a skull with inset bone teeth, five lighters to include a 1970s GBD Vulcan pipe lighter with square cut finish, in presentation case, a Brother-Lite chrome lighter and two Hadson Superior Quality lighters, both for the Canadian Provost Corps School, a combined Mosda streamline lighter and cigarette case, chrome plated engine turned finish, also a cigarette roller.
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