An Icarus EVA spacesuit from Danny Boyle's sci-fi thriller Sunshine. The crew of the Icarus II wore their spacesuits while operating outside of the ship, including Capa (Cillian Murphy) and Kaneda's (Hiroyuki Sanada) repairs to the Icarus II's shield, and Capa, Mace (Chris Evans) and Harvey's (Troy Garity) attempt to return to the Icarus II from the desolate Icarus I ghostship. The gold foil spacesuits were inspired by the work of NASA, and were intended to shield the crew from the heat of the sun. Boyle has also stated that the design of the helmet, with its very narrow viewing slit, was inspired by the character of Kenny from South Park.The spacesuit is a mixture of original production pieces and replacement parts to complete the display. The helmet, torso, gloves and boots are all original pieces, while the arms are reconstructed using golden foil-like material that was purchased for the production, but ultimately unused. The legs are entirely new.The helmet is made of metal and resin, covered with foil, while the body is largely made of fibreglass. The torso of the spacesuit features several decals, which show the suit's serial number and other information, indicating that it was from the original Icarus mission. "Dick" is handwritten inside the back of the torso, and a Velcro® patch is secured to the exterior of the back. The spacesuit is finished to resemble metal and is intentionally distressed to look well used in the vacuum of space. The lot is presented on a custom-made display stand. It has some scuffing and scratches from production use. One of the panels on the back of the helmet has come away and a piece of black tape is stuck to the rear of the suit. The golden foil on the left arm has split along a seam. Dimensions: 90 cm x 90 cm x 192 cm (35 1/2" x 35 1/2" x 75 1/2") Special shipping required; see special shipping notice in the Buyer's Guide.Contains electronics; see electronics notice in the Buyer's Guide.Estimate: £6,000 - 8,000 M
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A fighter pilot's flightsuit from Tony Scott's action drama Top Gun. Pete "Maverick" Mitchell (Tom Cruise) and his fellow pilots wore flightsuits during aerial operations at the US Navy's Fighter Weapons School and on board the USS Enterprise.This military-issue flight suit with a size 42S chest and size 33 1/2 sleeve is made of sage green fabric, with a long zip running down the front and adjustable waistbands fastened with Velcro® at the hips. Zips and pockets are present along the legs, chest and arms, while a Western Costume Co. tag numbered 2507-1 and labeled "Top Gun" is sewn into the interior collar.Part of the signature look of the naval aviators at the Top Gun academy was the array of squadron insignia. This suit features an American flag on the left shoulder, Pacific Fleet Adversary Squadron 126 and Tactical Wings Atlantic patches on the right chest, Velcro® for affixing a name patch on the left chest, and red thread remnants in the right sleeve where a badge was removed after production. The flightsuit is in good overall condition with staining and discolouration throughout from wear.Estimate: £3,000 - 5,000 Ω
An ERII 1912 pattern Cavalry Officer’s sword, blade 34½”, by E & F Horster, Solingen, etched with scrolled panels, Royal Arms, and ERII cypher, with plated regulation pattern hilt, in its plated steel scabbard. GC (surface rust on the inside of the guard, patch of bubbling to scabbard plating) £200-250
A miniature Egyptian pottery double-bodied jar Predynastic Period, Naqada II, circa 3500-3200 B.C. In the form of two conjoined ovoid jars, with a pair of pierced lugs, decorated in reddish paint with four boats, each with a double cabin with a standard attached on one side of the deckhouses, and an arched palm projection at the prow, with numerous oars, marsh plants and wavy lines representing the water beneath, a spiral decorating the flat double bases, 7cm high x 11cm wideFootnotes:Provenance:Michel Holley collection, Paris, acquired prior to 1972.For similar painted decoration, see the Metropolitan Museum of Art, New York, acc. no. 36.1.121. Decorated vessels of the Naqada II Period were often embellished with Nile Valley scenes, in particular boats, birds and plants. It has been suggested that boat scenes with figures may record stages in a ritual; for a discussion on the subject see D. Craig Patch, Dawn of Egyptian Art, New York, 2012, pp. 69-73.Michel Holley (b. 1924) is a noted architect, and sailing enthusiast. M. Holley studied architecture at the Ecole des Beaux-Arts in Paris, in the studio of Otello Zavaronia, and was elected Grand Massier in 1954. A keen member of the Royal Ocean Racing Club, M. Holley took part in the 1973 Cowes Admiralty Cup with the Izenah IV. His love of the nautical inspired his collection, which though drawn from the breadth of the Greek, Roman and Egyptian cultures, is bound by a fascination with seafaring. Formed in the early 1970s, this collection comes to auction for the first time.For further information on this lot please visit Bonhams.com
A Victorian engraved yellow metal and three stone garnet set hinged panel bracelet, with safety chain, gross 21.7 grams. approx. 17.5cm.CONDITION: All three stones exhibit minor scratches, some wear to the facet edges and one has a chip to one of the crown facets. Hinged bale under one panel. Small patch on the underside of another panel, possible repair. Small glazed mourning panel underneath another panel. Some wear to the metal on the edges of all the panels.
JOHN KNIBB OF OXFORD, an early 18th Century eight day walnut long case clock, the hood with two flaming urn finials to the caddy top, rectangular glazed side panels and with doric columns with brass caps to all four corners, the 28cm/11'' diameter brass dial with pierced brass boys and crown spandrels, silvered chapter ring with Roman and Arabic numerals, with subsidiary heart shaped date aperture and oval name plate, the plain trunk door with moulded surround, the plinth with stepped base, height 233.5cm, with pendulum, two weights and three winding keys Condition Report We recommend viewing the 25 photos online to assist with condition:- further photos will be added today showing close ups of the inside hinges and seat board through the hood door. The case has evidence of old woodworm damage, not in huge quantities, small patches, mostly on the sides of the hood, some has been filled. There are splits to the case throughout, in particular around glazed sides of hood, along the cushion moulded edge and the concave moulding below the overhang, similar splits to the concave moulding at the base of the hood. The trunk door is slightly warped at the bottom left hand corner. There is more substantial splits/cracks along the bottom edge of the trunk door and top right corner of the trunk door, the trunk door surround has gaps in the moulded edge. There is a horizontal split in the veneer across the trunk door in line with the escutcheon. The base has a number of splits in particular the front corners of the stepped plinth base, there is also a patch of veneer loss along the front of the bottom edge as well as a small patch of repair to the right hand side edge. The clock has come from a deceased estate and we have not seen the clock working, please purchase on the assumption it will need attention. The backboard has lots of screw holes where it has been fixed to a wall as well as knot holes in the oak. The interior also has wear due to rubbing of the pendulum. There is nothing obvious to make us think this is a marriage, the dual sits very well in the hood. The cat gut is clean as is the movement overall so its likely to have had an overhaul in recent years. The oval maker's name is engraved on a brass plaque and is inset into the dial, there are no other signs of other names having been erased on the dial so if it has been added it could only have been a name in an oval previously. Our opinion is that the seat board is a replacement.
A LATE VICTORIAN BURR WALNUT AND MARQUETRY INLAID WORK TABLE, the fold over top enclosing a chess and back gammon board, single frieze drawer with contents, above a sewing accessory compartment, on twin turned supports united by a stretcher width 62.5cm x depth 40.5cm x height 71.5cmCondition: slight surface damage to top, near back left corner inlay, small patch repair to gammon board, front left corner around 2cm long, small vaneer loss to right side bottom of accessory compartment, good condition for its age
A TURQUOISE CROSS AND A CITRINE SEAL, the cross set with turquoise cabochons and cannetille style decoration, all set in unmarked yellow metal (tests as approx. 18ct gold or better), 7cm long, (6.0g), together with a citrine fob, engraved with 'Absent but not forgotten', 2cm long, (3.6g), (2)The absence of a Condition Report does not imply that a lot is without imperfections. Please note carefully the exclusion of liability for the condition of lots contained in the Conditions of Sale.Cross - two stones missing, evidence of repairs and a small patch to reverseFob - light wear throughout, small split to rim of citrine
A oval circular porcelain table box with gilt mounts floral and gilt detail and central panel of couple with blue cross swords mark to the base, a similar D shaped porcelain table box, an unusual double ended continental patch type box decorated with various panels and shipping scenes to the outer and covers with internal painted cupid panels. (8cm x 6cm x 4cm) (3)
A PAIR OF LATE 19TH CENTURY CHINESE PORCELAIN FAMILLE ROSE VASES, gilded creatures to the neck, painted with flowers and figures 24cm high Condition Report – One has chipped rim, warn gilding, slight repair to the shoulder creature, manufacturing blemishes / stress cracks, the other has worn gilding, stress cracks, manufacturing blemishes, including a deep depression a few mm in diameter, a little patch of blued enamel missing.
SCOTTISH SCHOOL (16th/17TH CENTURY) PORTRAIT OF ELIZABETH ARTHUR Oil on canvas, 65 x 54cm (25 3/4 x 21 1/2") Portrait of Elizabeth Arthur (d. 1657) in an exquisite dress of fine lace and needlework probably painted at the time of her marriage to George Waddell (an event recorded in a marriage stone at Balquhatstone). Property from a Stirlingshire country house Condition Report: The painting has been lined and there is light to moderate craquelure evident over much of the surface area and in particular over the darker passages. There is a patch verso corresponding to an area located at the border of the hair and right half of the face at cheek level where restoration work to a degree has been carried out. There is visible a vertical crack line in the pigment approximately 30 cm in length running down the canvas to the right of the head in the top right quarter section and a smaller similar vertical crack, approximately 3cm in length, located on the forehead area. .
AN 18CT WHITE GOLD AND PLATINUM SOLITAIRE DIAMOND RING diamond estimated approx 1.58cts, 7.52mm x7.54mm x 4.40mm and spans at 1.55cts, in classic crown mount, finger size P, weight 3.8gms Condition Report: I cannot give you a full diamond appraisal, i.e the 4 C's as I am not qualified to do so. I can tell you what I can see with knowledge of inclusions and quality of gem stones up to Gemmology Association Certificate level. Tiny cloudy patch on one side of the table, with a even smaller clear crystal on the other , both can only just be seen with a 20x loope. Good bright cut, colour estimated G-H.
AN 18CT GOLD DIAMOND CLUSTER RING set with estimated 3cts of brilliant cut diamonds in total, in classic flower formation, with fleur de lis shoulders. Finger size P1/2, weight 8.2gms With insurance valuation for £12,500 Condition Report: Middle diamond;- two quite large areas of clear and cloudy feather inclusions, a cloudy patch to one side is eye visible. All other diamonds have clear and cloudy inclusions, with bit of carbon throughout. Mount good weight light wear.
UTAGAWA KUNIYOSHI The kabuki actor Nakamura Utaemon, wood block print, 35 x 25cm and UTAGAWA YOSHIIKU Prince Mitsuuji admiring the Oi River, triptych, wood block print, 35 x 24cm each (2) Condition Report: the actor faded and with small tear right of chin. triptych centre panel damp patch top right and other small areas of wear.
A BRIGHT YELLOW FIVE STONE RUBY RING each in a cut back clawed setting, largest ruby approx 5mm x 3.3mm x 1.9mm. Finger size L1/2, weight 2.3gms Condition Report: Linear and one hex corner zones in the rubies, one patch of platelets on one ruby, some carbon (?) dark spots all can only be seen with a loope, one of the smaller rubies has a chip from the girdle that has taken a chunk out of the back of the stone leaving the edge with a gap in the setting, another has a chip to the front, some abrasions to the top facets, please see photos. by eye nice pinky red colour.
AN 18CT YELLOW AND WHITE GOLD DIAMOND SOLITAIRE the brilliant cut diamond of estimated approx 2cts, (7.82mm x 7.81mm x 5.24mm, and spans on the presidium gauge at 1.74cts) is set in a classic six prong setting, finger size K1/2, weight 3.8gms Condition Report:I cannot give you a full diamond appraisal, i.e the 4 C's as I am not qualified to do so. I can tell you what I can see with knowledge of inclusions and quality of gem stones up to Gemmology Association Certificate level. Diamond;- The colour is good possibly F-G, a very nice clean stone with only a tiny, tiny grey feather with a little patch of clear crystals to one edge of the table. No chips or a laser id number (that I can see) to the girdle. Mount classic 6 prong with some wear to the middle claw from rubbing on another ring. .
SCOTTISH SCHOOL (19TH CENTURY) BY THE BANKS OF A HIGHLAND LOCH Oil on canvas, 46 x 61cm (18 x 24") (arched) Condition Report: The canvas has a light degree of cracking in the pigment over much of the surface area and the canvas is slightly uneven and loose on the stretcher. There is a small area of restored damage paint loss in proximity to the bottom right corner area and another similar close to the upper left edge with corresponding patch verso and a light diagonal scratch to the surface just below this area.
Fleming (Ian) Thunderball, sticker to endpaper, jacket price-clipped, small patches of browning to flaps, light discolouration to spine, spine ends and corners a little chipped and creased, 1961; The Man with the Golden Gun, small patch of staining to title and facing p., jacket spine lightly browned, small patch of staining to upper cover, spine ends and corners a little chipped and creasing, small mark to head of lower panel, 1965, first editions, original boards, dust-jackets; and 3 others, Fleming, 8vo (5)
Wicks (Mark) To Mars Via The Moon An Astronomical Story, plates, covers with light discolouration to foot, upper cover with small patch of staining and wear to upper corner, 2 puncture marks to spine, 1911 § Graham (Winifred) The Gods of the Dead, endpapers browned, spine faded, 1912 § Benson (Robert Hugh) Lord of the World, lacking front free endpaper, foxing, 1907, first or first English editions, original cloth; and 5 others, science fiction, fantasy and supernatural, 8vo (8)
A George III mahogany rectangular Pembroke table, the drop flap top over a single fitted end drawer, with original handle and lock, opposing faux drawer, raised on square chamfered legs with an X stretcher, 30 x 20in. (76.2 x 50.8cm.), 29½in. (70.2cm.) high. *Top has some small spirits stains and watermarks. Chip to joints above one hinge to both flaps. One flap slightly warped and has large worn patch to polish. A few small old edge chips to flaps.
An early 19th century French carved and silver gilt inlaid bone fan, the guards with shell carving and pierced and silver gilt inlaid foliate decoration, the sticks similarly decorated, the leaf printed and hand coloured with a pastoral scene between embossed and gilded sprays of fruiting vines, a similar smaller reserve with two noblewomen and embossed gilt decoration verso, with ivory silk tassel, 10¾in. (27.25cm.) long. * Condition: Piece missing from bottom of one guard (just above baluster shaped hinge section). Crack & chip with small inserted repair to lower guard on other side. Sticks in good condition with no faults. Leaf has minor wear and small end splits along folds. Tear across top of one fold of leaf just to right of main image. Some wear and glued tears to leaf on left hand guard. Four small paper patch repairs to back of leaf to left hand side.
An Edwardian satinwood banded mahogany Sutherland table by Bartholomew & Fletcher, the rectangular top opening on a gateleg mechanism and raised on square tapered legs with incised line decoration, united by a pierced lattice stretcher, on swept feet with pottery castors, one flap with ivorine label, 'Bartholomew & Fletcher, 217 & 219 Tottenham Court Rd., London', 35¼ x 29½in. (89.5 x 75cm.) open, 7¾in. (19.7cm.) wide closed, 28¼in. (71.75cm.) high. *One flap has some fading and a few patch marks to polish. Faint ring mark to one end of centre of top and small chip to edge. Top not warped. Very original, structurally sound.
A diamond solitaire ring, the round cut diamond weighing approximately 1ct and set in a 9ct yellow gold band. Ring size M. * Condition: The diamond has no chips or damage. Overall SI1, colour J-K. Very little fluorescence under UV. The stone has a small patch of cavity line inclusions near the girdle, which show on the surface and can be felt with a fingernail. There is a fine feather inclusion to the side and a small patch of mineral inclusions including tiny carbon spots in the same place. There is also a patch of cloud inclusions around one claw.
A 19th century bone circular patch box, the top inset with an enamel plaque 'Gift from a friend', 3cm diameter, an Art Deco faux ivory etui, 4.5cm high, one other, a gilt metal egg form trinket box and a miniature tortoiseshell mandolin, 13cm long (5)Condition report: No damage to patch box, etui has slight wear to rim, mandolin has slight wear to segmented line
Kadhim Hayder (Iraq, 1932-1985)Abstraction No.38 oil on canvas, framedsigned 'Kadhim Hayder' and dated '69' in Arabic, further signed and titled 'Abstraction No.38' on the verso, executed in 196980 x 100cm (31 1/2 x 39 3/8in).Footnotes:Provenance:Property from a private collection, LondonKadhim Hayder was a master of weaving symbolism, poetic allegory and abstraction into compositions that were predominantly narrative in subject matter.As a poet, he had a lifelong fascination with the Shi'ite epic of the Martyrdom of Imam Hussein and this episode forms the subject matter of his most significant body of work, The Epic of the Martyr which was exhibited in 1965 at at the National Museum of Modern Art.The present work is a seminal example from this period; seemingly abstract in its entirety, Hayder employs cunning visual symbols that allow us to decipher his hidden narrative. Forms of varying colour's which correspond to different characters in the Martyrdom Epic populate the canvas: the dark green of Imam Hussein, the Red of Shimr and the opposing army, the Yellow of the neutral observers and the White of the martyred troops, this narrative colour coding has been used for centuries in Tazieh 'passion plays' and performances throughout the Sh'ite worldIn other clearly figurative compositions, the white horses of Hussein are seen mourning the death of their Martyr beneath an ominous red moon. In this work, the abstracted patch of white, representing the purity of the fallen, is assaulted by a mass of opposing colour and enveloped in a sea of grey.For further information on this lot please visit Bonhams.com
A Steiff pre-war chimpanzee, with faded brown mohair, clear and black glass eyes with brown backs, felt face, ears, hands and feet, swivel head, jointed limbs and inoperative squeaker --11in. (28cm.) long (suede patch to mouth area and left ear, hands and feet covered and general wear); a post-war Steiff Jocko glove puppet with script button; and a post-war German monkey (mouth patched)
Two 1930s Chiltern-type teddy bears, both with swivel heads and jointed limbs, the larger with blonde mohair, replaced black glass eyes, pronounced muzzle with black stitched nose, mouth and claws and growler --27in. (68.5cm.) high (patch to left wrist, balding and general wear); and a smaller example with clear and black glass eyes (neat patch to lower back and inside right leg)
'Goldie' an early Steiff teddy bear with blank button circa 1905, with apricot golden mohair, boot button eyes, pronounced muzzle, replaced black stitched nose and mouth, swivel head, elongated limbs, remains of probably five stitched claws, hump and inoperative squeaker --15 ½in. (39.5cm.) high (pads replaced, balding to head and front, general wear, fading to front and repaired patch to tip of muzzle) - this bear was lot 328 in Grandma's Teddy Bear Museum auction in these rooms on the 9th September 2020
Circle of Ferdinand Bol Portrait of a ladyOil on canvas 71 x 58.5cm (27¾ x 23 in.)Condition Report: Canvas has been relined. Very fine craquelure throughout. Yellowing varnish and surface dirt throughout, most notable to the sitter's ruff. Retouching visible in natural light scattered across the background. Also visible to the right of the sitter's head which corresponds to the rectangular patch repair visible to the reverse approx. 9 x 16cm. Three very small losses to the sitter's left shoulder just below the ruff with associated cupping. There is a white surface scuff to the sitter's right wrist. Inspection under UV reveals a green masking varnish and retouching scattered throughout. Condition Report Disclaimer
Jules Jacques Veyrassat (French 1828-1893)Horses and figures resting outside an inn, a studyOil on canvas Signed lower right 38 x 58cm (14¾ x 22¾ in.)Provenance:The Rowley Gallery, LondonCondition Report: The canvas is unlined and on it's original stretcher. It has a small patch on the reverse approx 3 x 9 cm. which covers a horizontal repaired tear which runs through the centre of the horses. There is a small amount of restoration in this region and one or two other small spots. There is some fine surface cracking, some surface dirt and discoloured varnish. It is presented in a modern gold-painted frame Condition Report Disclaimer
Circle of Peter de Wint (British 1784-1849)Gathering woodWatercolour 37 x 54cm (14½ x 21¼ in.)Condition Report: A light blue gouache/bodycolour appears to have been added to the upper right section of this sky. This was possibly done as a previous attempt at restoration as there is an area approx 10cm in diameter where there are patches to the sheet which appear to have been lost. This has been over-painted with the aforementioned gouache which then also extends to the upper right corner and sides. There is also a small patch of pigment to the upper left corner. This is not particularly noticeable until you are quite close to the picture. Otherwise, the colour is good and the work appears to be in relatively good condition commensurate with age. Some slight undulation to the sheet caused by framing. Unexamined out of glazed frame.Condition Report Disclaimer
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