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Lot 710
Inert British Mills Grenade Converted to Table Lighter, the body is stamped with maker “T G & C”. Screw also stamped “Z GRB”. Chrome top and striker, lever acts as mechanism. Mounted to a brass stand. This lot is a inert lot and is legal and safe to own in the UK. We are not able to offer post and packing on this lot. Please note only available to clients bidding from the UK who can arrange collection.
Lot 790
Scarce Miss-Matched Pair of 1914 Leather Braces, one produced in a lighter brown leather and probably of American manufacture, stamped “COOK” and 1915 dated to the end. The other strap in darker brown leather, small section of the end of this strap is now absent. Both with brass buckles. The first strap, leather is very dry and flaking. (2 items)
Lot 160
A selection of WWI and later navy related items to include a 1914 brass Christmas box, a brass trench art model of a plane, navel gold bullion cloth badges, two wooden plaques for Coastal Minesweeper and HMS Upton, a pamphlet on HSM Lynx and a cigarette lighter with the insignia for HMS Lynx and various empyema include postcards, war issue Malta and British Forces banknotes and a certificate issued for a sailor crossing the Latitude line on 8th June 1943Location: LAB
Lot 155
A MIXED LOT:- A shoe horn, a small plain spirit flask, two napkin rings, a bracelet, a mounted powder compact, a case for a pair of spectacles, a boxed pair of plain napkin rings, initialled, a mounted table lighter, a mounted steel cigar cutter, and an Indian spirit flask with chased decoration; the latter 5.25" (13 cms) high; 17.8 oz weighable silver) (11)
Lot 315
TWO SIMILAR LATE VICTORIAN MOUNTED CUT-GLASS TOILET BOTTLES with embossed globular hinged covers and glass stoppers, initialled, by two different makers, Birmingham 1892/93, together with a pair of small shell salts, a dish with non-matching glass liner, a double bonbon dish, a cigarette case, initialled and dated "1896", and a Dunhill pocket lighter with engine-turning inscribed "Lottie"; the latter 2.25" (5.7 cms) high; 6 oz weighable silver (8)
Lot 173
Queen Mary Tobacco Box with Asprey Tinder Lighter, Best Wishes card and photograph, the lighter bears the "M warrant, Xmas Fund 1914, Asprey London", the lighters are one of the rarer items that should have been included with the Christmas gift tins. Asprey & Co was unable to fulfil its contract for half a million lighters as the stones used in them were supplied by companies in Austria. As the war progressed they did not feel inclined to replace supplies when Asprey & Co ran out. Instead replacement items were delivered making the lighters very scarce, also included a 1918 Christmas Card from the British Red Cross Society and Order of St John
Lot 68
Set of six Coalport cups and saucers, midnight blue and floral decorated with gilt highlights numbered to base Y 4307 (6) Condition Reportthere is a spot of blue near the rim is lighter that the rest on a couple of the cups. There is some wear to the rim on one. Some of the cups have crazing in spots. See attached images.
Lot 70
*Cedric Morris (1889-1982)French landscapesigned l.r., oil on canvas45.5 x 55cmProvenance: Sotheby’s London, 26 September 1984, lot 274.Cedric Morris had an enduring interest in landscape painting stretching back to his early years as a painter. Before the late 1920s, although interested in nature, he was yet to develop his passion for horticulture and so his output was varied in its scope and comprised of many portraits, landscapes and also birds. He lived for two years between 1918 and 1920 in Newlyn, and then along with his partner Lett Haines moved more permanently to Paris towards the end of 1920, using it as a base for the majority of the decade to come. From here, he could travel widely and he spent the summers throughout Europe in pursuit of new landscapes for inspiration. He spent time in Italy, the Dordogne, and Normandy where Margaret Morris, wife of the colourist J D Fergusson held her summer school. Like many artists, he was drawn to the south of France, in particular to the vallée de l'Ouvèze, where he remarked of his work there: 'I think the landscapes are the best I have ever done, rather like the Newlyn ones, the colour suits me' (Hugh St. Clair, 'A Lesson in Art and Life’ Pimpernel Press Ltd., 1919, p.48).In his Mediterranean works we can see a difference in colours as Cedric responds to the drier landscape - the heavy, rich greens and browns that saturate his British and Welsh views are still present, but toned more sparsely amongst ochres, Naples yellow and raw umbers, punctuated with accents of pale blues and pinkish hues. In our picture we can feel the difference in climate, the dry arid sandy soil and rocks of the foreground and the lighter-coloured olive trees beyond. The work is typical of his painting style - richly impastoed, with clearly defined brush strokes applied in varying angles across the surface. The work is impressionistic; he manages in a few gestural stokes to depict a startling variety of trees and shrubs, indicating his huge appreciation of the variety of flora around him.*Artist's Resale Right may apply to this lot.Condition report: Light surface dirt, may benefit from cleaning. Canvas not entirely flat but this may be due to thick impasto and does not detract from appearance. Back of canvas has been painted. Small rusty coloured mark to upper left corner, this shows up under uv light. Another small mark in trees directly below this also shows up under uv light. Please see additional images.
Lot 284
1992 Ferrari 512 TR CoupéCoachwork by PininfarinaRegistration no. G6 REDChassis no. ZFFLA0B000092766*Left-hand drive*Circa 55,580 kilometres (approximately 34,500 miles) recorded*First registered in the UK in August 2014*Present ownership since December 2014Footnotes:Introduced in 1992, the 512 TR was one of the final developments of Ferrari's sensational Testarossa supercar. Ferrari's flagship model, the Testarossa revived a famous name from the Italian company's past when it arrived in 1984. A 'next generation' Berlinetta Boxer, the Testarossa retained its predecessor's amidships-mounted, 5.0-litre, flat-12 engine; the latter now boasting a maximum power output raised to 380bhp at 6,300rpm courtesy of four-valve cylinder heads. Despite the power increase, smoothness and driveability were enhanced, the car possessing excellent top gear flexibility allied to a maximum speed of 290km/h (180mph).Rivalling Lamborghini's Countach for presence, the Pininfarina-designed Testarossa succeeded brilliantly, the gill slats feeding air to its side-mounted radiators being one of the modern era's most instantly recognisable – and copied - styling devices. A larger car than the 512 BB - the increase in width being necessary to accommodate wider tyres - the Testarossa managed the trick of combining high downforce with a low coefficient of drag, its graceful body being notable for the absence of extraneous spoilers and other such devices. Despite the increase in size over the 512 BB, the Testarossa was lighter than its predecessor, the body - its steel doors and roof excepted - being, somewhat unusually for a production Ferrari, of aluminium. Luxury touches in the well-equipped cabin included air conditioning, electrically adjustable seats, tilting steering wheel and plentiful leather.Unlike some of its rivals, the Testarossa possessed light controls and was relatively easy to drive, factors which, allied to its outstanding performance and stunning looks, contributed to an instant and sustained high level of demand. In 1992 the original Testarossa was succeeded by the updated 512 TR version, which came with 428bhp on tap and could easily exceed 300km/h. Pininfarina gave the TR a front-end makeover and the newcomer also gained improved under-body aerodynamics and 18' diameter wheels. A total of 2,280 512 TRs had been made when production ceased in 1994.Believed sold new in Germany, this beautiful Ferrari 512 TR was first registered in the UK on 1st August 2014 and currently displays a total of circa 55,580 kilometres (approximately 34,500 miles) on the odometer. Finished in Rosso with black leather interior, this example is a most attractive proposal for the Ferrari aficionado. Accompanying documentation consists of six expired MoTs, a V5C document, fresh MoT and service history up to 53,565 kilometres.For further information on this lot please visit Bonhams.com
Lot 265
1992 Ferrari Testarossa CoupéCoachwork by PininfarinaRegistration no. K420 KRAChassis no. ZFFAA17C000090563•Rare UK-supplied right-hand drive model•Ferrari main agent service history•Four owners from new•Only 7,655 miles from new Footnotes:Ferrari's flagship model, the Testarossa supercar revived a famous name from the Italian company's past when it arrived in 1984. A 'next generation' Berlinetta Boxer, the Testarossa retained its predecessor's amidships-mounted, 5.0-litre, flat-12 engine, the latter now boasting a maximum power output raised to 380bhp at 6,300rpm courtesy of four-valve cylinder heads. Despite the power increase, smoothness and driveability were enhanced, the car possessing excellent top gear flexibility allied to a maximum speed of 180mph. Rivalling Lamborghini's Countach for presence, the Pininfarina-designed Testarossa succeeded brilliantly, the gill slats feeding air to its side-mounted radiators being one of the modern era's most instantly recognisable – and copied - styling devices. A larger car than the 512BB - the increase in width being necessary to accommodate wider tyres - the Testarossa managed the trick of combining high downforce with a low coefficient of drag, its graceful body being notable for the absence of extraneous spoilers and other such devices. Despite the increase in size over the 512BB, the Testarossa was lighter than its predecessor, the body - its steel doors and roof excepted - being, somewhat unusually for a production Ferrari, of aluminium. Luxury touches in the well-equipped cabin included air conditioning, electrically adjustable seats, tilting steering wheel and plentiful leather. Unlike some of its rivals, the Testarossa possessed light controls and was relatively easy to drive, factors which, allied to its outstanding performance and stunning looks, contributed to an instant and sustained high level of demand. Imported by Maranello Concessionaires and supplied by H R Owen, this rare right-hand drive Ferrari Testarossa was sold new to its first owner Charles Robertson (Dev) Ltd of Cornwall in September 1992 and was first registered as 'K567 EYL'. In February 1994 the Ferrari passed to the second owner, Mr Vichai Karmakharm of Oxfordshire and was reregistered as 'K420 KRA'. It was next owned, from November 1999 onwards, by Mr Alan Croll and has belonged to the current vendor since May 2002. Old registration documents recording details of former owners are on file together with correspondence, bills, and H R Owen and Graypaul service history as recorded in the original Warranty Card and Owner's Service Book. Finished in the classic colour combination of Rosso Corsa with Crema leather interior, this low-mileage Testarossa is described by the private vendor as in excellent condition throughout and has to be a most attractive acquisition for the Ferrari aficionado.For further information on this lot please visit Bonhams.com
Lot 263
2006 Aston Martin DB9 Volante ConvertibleRegistration no. RO06 BOFChassis no. SCFAC02A6GB05600•One of the world's fastest soft-tops•Automatic transmission•Only 48,808 miles from new•Full service history Footnotes:'The Aston Martin DB9 is a thoroughbred sports car with GT levels of comfort and refinement. Combining Aston Martin's unique character with an uncompromising design philosophy, the DB9 was borne out of a synthesis of traditional craftsmanship, high-tech manufacturing, modern components and use of the finest materials.' - Aston Martin.Launched in 2003 as successor to the DB7, the DB9 is historically significant as the first model to be built at Aston Martin's new factory at Gaydon, Warwickshire. Like its predecessor, the DB9 was styled by Ian Callum, with finishing touches applied by Henrik Fisker. State-of-the-art manufacturing techniques were employed in making the aluminium/composite body, which was robotically assembled using a combination of self-piercing rivets and adhesive. Although some 25% lighter than that of the DB7, this advanced bodyshell possesses double the structural stiffness. The DB9 is powered by a development of the 5.9-litre, 48-valve, V12 engine found in the DB7 Vantage, which produces 450bhp, an output sufficient to propel the aerodynamic coupé to a top speed of 305km/h (189mph) with 60mph attainable from a standing start in a neck-snapping 4.6 seconds. The aluminium engine is mounted as far back as possible in the chassis while the transmission/final drive is positioned ahead of the rear axle, resulting in 85% of the car's mass being sited between the axles and a perfect 50/50 front/rear weight distribution. Transmission options are a six-speed manual or six-speed 'Touchtronic 2' Automatic.Inside the DB9 one finds the typically elegant, luxurious and supremely comfortable hand crafted interior traditionally associated with Aston Martin, featuring primarily wood and leather trim as well as the latest in modern technology, subtly deployed. Although scheduled for a slightly higher production level than previous Aston Martins, the DB9 remained an exclusive product affordable only by a privileged few. Its price at launch was £111,000, with the Volante convertible some £14,000 more. This DB9 Volante is finished in Aston Martin Titanium Silver with Phantom Grey leather interior and has the fully automatic transmission. Reflecting careful ownership, it has been serviced at the regulation intervals from delivery up to the present day, there being 14 services recorded, the most recent carried out in March 2020 at 47,508 miles. Described by the vendor as in good working order throughout, this desirable DB9 Volante comes with current MoT, a V5C document, and the aforementioned service records. For further information on this lot please visit Bonhams.com
Lot 16
RAOUL DUFY (1877-1953)Le retour des régates signed, inscribed and dated 'Deauville Raoul Dufy 1933' (lower left)oil on canvas46.7 x 110cm (18 3/8 x 43 5/16in).Painted in Deauville in 1933Footnotes:ProvenanceM. Bignou Collection (by 1936).Perls Galleries, New York, no. 3311.Anon. sale, Christie's, New York, 8 May 2002, lot 300.Kunsthandel Frans Jacobs, Amsterdam.Private collection, The Netherlands (acquired from the above on 24 October 2002). ExhibitedToledo, The Toledo Museum of Art, European Section of the Thirty Third Carnegie International Exhibition of Paintings, 1 March – 19 April 1936, no. 78. LiteratureM. Laffaille, Raoul Dufy, catalogue raisonné de l'oeuvre peint, Vol. II, Geneva, 1973, no. 864 (illustrated p. 351).Le retour des régates was executed in Deauville in 1933 and stems from one of Raoul Dufy's most iconic subjects. Boat races were painted by the artist on numerous occasions throughout both France and Great Britain: in fact, the subject first appeared in Dufy's work in 1907 and remained an important theme throughout his practice. Executed on a canvas measuring over a metre long, Les retour des régates is one of the largest regatta scenes ever to appear at auction and was painted at the height of the artist's career.In the early twentieth century, Deauville developed into a go-to resort for high society due to its proximity to Paris. With a racecourse, a casino and a harbour, the small town provided entertainment throughout the year. The many festivities that were held established an influx of tourists and formed the ideal environment for Dufy to paint en plein air. The artist could observe the pastimes of the French upper-class from behind the easel, and the joyous and dynamic atmosphere allowed him to experiment with movement and colour. Born on the northern coast of France in the city of Le Havre, the artist was fascinated by the ocean from a young age as he would stand on shore watching the activities around the water's edge. Dufy considered the sea as a backdrop for lively spectacles, and it formed the ultimate location to observe the ever changing light effects: 'Unhappy the man who lives in a climate far from the sea, or unfed by the sparkling waters of a river!...The painter constantly needs to be able to see a certain quality of light, a flickering, an airy palpitation bathing what he sees' (Dufy, quoted in D. Perez-Tibi, Dufy, New York, 1989, p. 158).Dufy scrutinised the boat racing theme over the course of his career, which resulted in an array of works on the subject. It allowed the artist to experiment with various structures and colour arrangements in his compositions and he mastered a uniquely free and dynamic style. In the present painting Le retour des régates, the viewer observes the sailing boats returning to the harbour after racing on a sunny day at sea. Dufy captures the scene as seen through the eyes of the sailors in the advancing boats, giving the viewer the sensation that they too are within the composition. With the wind blowing in their sails, the boats navigate towards maritime flags situating the harbour with the shore emerging in the background. Instead of carefully delineated details, Dufy employed bold and rigorous brushwork to create stylized forms on the two-dimensional picture plane. A dazzling palette of blue hues accentuate the sky and sea, evoking the atmospheric climate of his lively design. The present work is proof of the artist's masterful colour technique. In an interview with Pierre Courthion, Dufy elaborated on his choice of colour: 'Blue is the only color which keeps its own individuality across the spectrum. Take blue with its different nuances, from the darkest to the lightest; it will always be blue, whereas yellow darkens in shadow and fades out in lighter parts, dark red becomes brown and when diluted with white, it isn't red any more, but another color: pink' (Dufy quoted in P. Courthion, Raoul Dufy, Geneva, 1951, p. 52).Le retour des régates captures the spirit and influence of the Fauves, with whom Dufy exhibited following his encounter with Henri Matisse's seminal work Luxe, Calme et Volupté at the Salon des Indépendants in 1905. Being exposed to such daring work encouraged the young artist to experiment with a wider palette. As Dufy himself emphasised: 'colour captures the light that forms and animates the group as a whole. Every object or group of objects is placed within its own area of light and shade, receiving its share of reflections and being subjected to the arrangement decided by the artist' (Dufy quoted in D. Perez-Tibi, op. cit., p. 150).The 1930s are regarded as the apex of Dufy's career, as his work started to receive institutional attention and was widely acknowledged across continents. In 1932 the Musée de Luxembourg in Paris acquired one of his works for their permanent collection, and by 1936 Dufy received several important public commissions in Paris, most notably the mural for the Exposition Internationale des Arts et Techniques dans la Vie Moderne. In the same year, the present painting Les retour des régates was included in the thirty-third edition of the prestigious Carnegie International exhibition, held in the Toledo Museum of Art in Ohio. This show was initiated in 1896 by industrialist and philanthropist Andrew Carnegie and was the first exhibition with an international allure in North America. In 1936 the show served as an annual survey to identify international trends in avant-garde art to inspire and educate the public. Dufy's work was exhibited alongside paintings by artists such as George Braque and Pierre Bonnard. Other participants of the Carnegie International included Camille Pissarro, Salvador Dalí and Jackson Pollock.Raoul Dufy's spirited and bright compositions remain intrinsic to the art historical discourse of today, particularly his regatta paintings. Comparable works to Les retour des régates can be found in major public collections including the Musée d'Arte Moderne de la Ville in Paris, the Tate Modern in London and the National Gallery of Victoria in Melbourne.For further information on this lot please visit Bonhams.com
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