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![André L. Simon copy.- Grapaldus (Franciscus Marius) De partibus aedium addita modo, collation: [par]8, [2par]8, [3par]4, a-q8](https://cdn.globalauctionplatform.com/619f653b-98ff-4bdf-9ce7-aff900c462e6/197e9552-0a7f-4e01-b568-aff900c8e93a/468x382.jpg)
Lot 156
André L. Simon copy.- Grapaldus (Franciscus Marius) De partibus aedium addita modo, collation: [par]8, [2par]8, [3par]4, a-q8, r6, s-z8, &8, [cum]8, [R with stroke]8, A-G8, H4, with the last blank, large woodcut portrait of the author to title, woodcut initials, early ink manuscript Latin verse to rear endpaper, two small marginal paper repairs to title, and one to H2, light marginal foxing, a couple of instances of finger soiling, contemporary vellum, 4to (212 x 155mm.), Parma, Francesco Ugoleto & Ottaviano Saladi for Antonio Quinziano, 1516.⁂ On the organisation of the household, including the kitchen garden, kitchen, dining room, hosting guests, and the avoidance of waste. This new edition was published a year after Grapaldi's death, and is the first to include the portrait on the title. The text is significantly enlarged and corrected, and is supplemented with a table of contents and an index. Our copy with an excellent provenance. Provenance: André L. Simon (1877-1970) wine merchant and writer, gourmet, book collector, and bibliographer. The wine writer Hugh Johnson described him as 'the charismatic leader of the English wine trade for almost all of the first half of the 20th century, and the grand old man of literate connoisseurship for a further 20 years' (engraved bookplate). Literature: Adams G1009; B.IN.G 972; Cicognara 520; Fowler 145; Mortimer Italian 220; Paleari Henssler p.361; Sander 3254; Simon BB II, 317 & BG 789 (this copy); EDIT 16 CNCE 21596.
Lot 194
South America.- Lasso de la Vega (Garcia) The Royal Commentaries of Peru, 2 parts in 1, first edition in English, translated by Sir Paul Rycaut, engraved portrait frontispiece by R. White after Lely, title in red and black, 10 engraved plates (1 folding), 8 f. index bound after title, bookplate of Jay Randolph Sharpsteen, verso of frontispiece with contemporary ink inscription, title with light damp-stain to foot, L4 & 5K1 with small hole in text, 5L3 with short tear into text but no loss, some minor marginal worming, small worm trace within text from 5P onwards, a couple leaves frayed at edges, occasional light spotting or staining, but generally a clean copy, later calf-backed boards, rubbed, lower joint split at head, upper cover loose, [Sabin 98760; Wing G216], folio, Miles Flesher, for Christopher Wilkinson, 1688.⁂ One of four variant imprints, printed for different booksellers.
Lot 63
Blake (William).- Malkin (Benjamin Heath) A Father's Memoirs of his Child, first edition, engraved frontispiece by R. H. Cromek after William Blake and 3 plates, including one folding map, frontispiece laid down to sheet, one or two instances of finger soiling, contemporary red straight grain morocco, covers with rich gilt borders, rich dentelles, spine a little sunned, slight scratch to upper cover, minor scuffing to corners, 8vo, for Longman, Hurst, Rees and Orme by T. Bentley, 1806.⁂ Contains the first recorded account of Blake by a contemporary. Malkin knew Blake well, and herein devotes 24pp. in the preface to an account of his friend's life and genius, largely recorded from conversations with Blake himself. The preface also contains the first typographic printing of several of Blake's poems.
Lot 51
Herbert (George) The Temple. Sacred Poems and Private Ejaculations, third edition, with an additional 18ff. Table before final gathering (after H12), title with small chip at fore-edge (just touching border), A7 with small marginal tear and paper repair, [STC 13186], Cambridge, T. Buck and R. Daniel, 1634 bound with [Harvey (Christopher)] The synagogue, or, The shadow of the temple. Sacred poems, and private ejaculations; in imitation of Mr. George Herbert, third edition, final leaf (C12) with small defect and paper repair top edge, damp-staining, for Philemon Stephens, [Wing H1046], 1657, together 2 works in 1, titles within typographic borders, typographic head- and tail-pieces, trimming to edges (sometimes affecting headlines or signatures, and close to text but no losses), browning, repairs to hinges, near contemporary boards, rebacked with portions of original back-strip laid down, corners worn, 12mo. ⁂ Additional Table (18ff.) not listed in ESTC collation.
Lot 94
Elizabeth II (Queen of the United Kingdom of Great Britain and Ireland).- Wilding (Dorothy) Portrait photograph print, signed "Elizabeth R" and dated 1953, ink faded to pale brown, signed 'Dorothy Wilding' in the negative, spotting and staining to mount, not affecting image, print 305 x 415 mm., frame 500 x 655 mm, framed and glazed, [1952].⁂ Dorothy Wilding (1893-1976) was the first photographer to take official images of the Queen, after her accession to the throne in 1952. Wilding had experience as a royal photographer, having taken official portraits at the Coronation of King George VI, as well as photographing the King for use on currency and stamps. This resulted in Wilding becoming the first female photographer to receive a Royal Warrant.
Lot 177
Indonesia.- Various cartographers (mainly 18th and 19th century) Collection of 30 maps of Indonesia, many rare and unrecorded at auction, with detailed maps of Sumatra, Sulawesi, the Malacca Strait, Java, including the Passaroeng Residence, the Gulf of Tomini, Maluku, and other locations outside Indonesia including Southern Borneo, by cartographers and publishers that include R. Everwin, Topographical Bureau of Batavia, F.G. Steck, Le Baron P. Melvill, C.F. Stefler, others by 19th century Dutch cartographers, engravings, lithographs, some with hand-colouring, various sizes, largest approx. 720 x 540 mm (28 1/4 x 21 1/4 in), old folds to some, a few carefully repaired splits, occasional minor handling creases, all unframed, 18th and 19th century (30)⁂ A unique opportunity to acquire a comprehensive collection of scarce maps covering Indonesia and Borneo, many without auction precedent.
Lot 23
Eyre family of Newhouse, Wiltshire.- Benson (Rev Edmund, vicar of Salisbury Cathedral, d. 1835) & Robert Benson, judge and local historian of Salisbury, 1797-1844) [Benson's account of the Eyre family], autograph manuscript notes by Rev Edmund Benson and his son Robert Benson, 80pp. excluding blanks, a few manuscript notes loosely inserted, some slight brown staining at beginning, original cloth, gilt, torn plain paper dust-jacket, sm. 4to, [c. 1830s]; and another, an album (disbound) relating to the Long family of Seale, Surrey, including ALs.s. from John Claudius Loudon and Joseph Wolff (2).⁂ Ink inscription reads: "The following account of the Eyre family (in my Fathers handwriting) was compiled by my friend George Matcham Esqr. of Newhouse from deeds and other authentic muniments R. Benson Dr. Recorder Salisbury."
Lot 173
Greece.- Dodwell (Edward) Views in Greece, from Drawings, first edition, deluxe issue, title with aquatint vignette, 30 superb hand-coloured aquatint plates by R. Havell, T. Fielding, F.C. Lewis and others after Dodwell and Pomardi, plates mounted on thick card with printed captions and imprints on slips pasted to verso of mounts, each with explanatory leaf in English and French, tissue guards, to which offsetting, spotting and browning to mounts, in a few cases affecting plates as well, the same and some light uniform browning to multiple text leaves, contemporary straight-grain red morocco, gilt panelling in line and foliate patterns to corners, gilt dentelles of a vine pattern, covers capped in metal, upper joint broken at ends (but holding in central portion), lower torn at head, wear to extremities, [Abbey, Travel 130; Atabey 357; Blackmer 493; Colas 876; Weber I, 1110], folio, Rodwell and Martin, 1821.⁂ One of the most famous colour-plate books on Greece, and an essential part of any library of Greek monuments and topography. Edward Dodwell (1776/7- 1836), traveller and archaeologist, made several tours of Greece, the first with Sir William Gell in 1801 and another more extensive tour in 1805-6 with the artist Simone Pomardi. Originally issued in parts intended to illustrate Dodwell's Classical and Topographical Tour through Greece of 1819, but the project became too expensive and this selection of 30 plates was issued separately. Provenance: Sir John Wolfe Barry K.C.B [bookplate].
Lot 1
Eyre (William) Vindiciae Justificationis Gratuitae. Justification without Conditions; of The Free Justification of a Sinner, Explained, Confirmed, and Vindicated, Reader note opposite title, title within typographical border, letter loosely inserted sending the vol. to Matcham, slightly browned, a few ff. with slight staining in margins, a few brown marks, front free endpaper corner torn away, contemporary calf, scratched, edges rubbed, lacks head and tail of spine, [Wing E3947], for R. I. and... Tho. Brewster, 1654 § Leigh (Edward) The History of the Twelve Caesars, p. 109 to end slight worming in upper margin, slightly browned, contemporary calf-backed boards, rubbed, lower cover detaching, Paisley, J. Weir, 1791 § Jackson (Rev. J.E.) Wulfhall and the Seymours, presentation copy from the author to George Matcham, frontispiece and map, manuscript inscription on title "Privately Printed", original morocco-backed boards, 1874; and c. 17 others from the Matcham Library, v.s., v.d. (c. 20).
Lot 14
Nikolaos Gyzis (Greek, 1842-1901)Bestrafung eines Hühnerdiebs in Smyrna/ Punition d'un voleur de poulet à Smyrna signé 'N. Gysis' (en bas à gauche)huile sur toile137 x 106cm (53 15/16 x 41 3/4in).Peint en 1873.signed (lower left) oil on canvasFootnotes:ProvenanceDresden Museum - Königlichen Gemäldegalerie Neue Meister (Purchased in 1885 out of the Interest of the Pröll - Heuer Bequest).Natalia Tzirakopoulos collection, Athens and hence by descent to the present owner.LittératureEstia magazine, vol. X, no. 470, January 1, 1885, p. 4 (mentioned).Estia magazine, vol. X, no. 516, November 17, 1885, insert, phototypie von Ch. Bruch, Munchen (illustrated).K.F. Skokos, National Calendar of the Year 1888, Athens 1888, p. 249 (mentioned).Gysis's letter, February 14, 1893 (mentioned).Die Kunst unserer Zeit periodical, vol. VIII, 1897, between pp. 80 and 81 (illustrated). K.F. Skokos, National Calendar of the Year 1897, Athens 1897, p. 20 (mentioned).Techni, I, no.8-9, June-July 1899, p. 239 (mentioned).Epetiris Filotechnon, Yearbook of the Art Lovers Society, 1901, p. 20 (mentioned).Pinakothiki magazine, vol. I, no. 1, March 1901, p. 18 (mentioned).Attiki Iris magazine, vol. IV, no. 16, August 15, 1901, p. 183 (mentioned). M. Montandon, Gysis, Derlag von Delhagen & Klafing editions, Bielefeld und Leipzig, 1902, p. 66 (mentioned), p. 27, fig. 21 (illustrated).Catalogue of the Pictures in the Royal Gallery at Dresden, Buchdruckerel Der Wilhelm und Berta V. Baensch Stiftung, Bresden/ Julius Bard Verlag für Literatur und Kunst, ed, Berlin, 1912, p. 257, no 2402 (listed).Pinakothiki magazine, vol. XIII, no. 145, March 1913, p. 3 (mentioned).Politeia newspaper, November 21, 1925 (mentioned).Allgemeines Lexikon der Bildenden Künstler, Verlag von E.A. Seemann, Leipzig 1922, vol. XV, p. 380 (mentioned). Great Greek Encyclopedia, P.G. Makris editions, Athens 1926, p. 750 (mentioned).Eleftheroudakis Encyclopedic Dictionary, vol. IV, Athens 1928, p. 174 (mentioned). Album of Tinian Artists - N. Gysis, D.I. Kalogeropoulos, X. Sochos ed., Athens 1928, p. 22 (discussed), p. 21 (illustrated).Dialexis magazine, vol. I, no. 3-4, February 29, 1928, p. 84 (discussed).Eleftheron Vima newspaper, March 18, 1928, p. 2 (mentioned).Ellinika Grammata magazine, vol. II, no. 7, March 26, 1928, p. 238 (mentioned).Ellinika Grammata magazine, vol. III, no. 34, November 1, 1928, p. 455 (illustrated).Eleftheroudakis Abridged Encyclopedic Dictionary, Athens 1935, p. 803 (mentioned).Nea Estia magazine, vol. XXV, no. 294, March 15, 1939, p. 427 (mentioned).Eleftheron Vima mewspaper, September 24, 1939 (mentioned).Eklogi magazine, vol. V, no. 2, February 1949, p. 203 (mentioned).Eleftherortia magazine, no. 11, July 1950, p. 166 (mentioned). Ethnos newspaper, January 6, 1951 (mentioned).Nea Estia magazine, vol. L, no. 586, December 1, 1951, pp. 1587 (mentioned), 1586 (illustrated).Nicholaos Gysis's Letters, G, Drossinis, L, Koromilas ed., Eklogi editions, Athens 1953, p. 41 (illustrated).C.S. Solomonidis, Of Smyrna, Athens 1957, p. 142 (mentioned).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1960s, no. GR TITSpit f216-3, p. 1 (mentioned).F. Yofyllis, History of Modern Greek Art 1821-1941, vol. I, To Elliniko Vivlio editions, Athens 1963, p. 183 (mentioned). N. Armakolas, Nikolaos Gyzis - His Human Side, Kykladikon Fos Newspaper editions, Athens 1964, p. 14 (mentioned).Z. Papantoniou, Kritika, Vivliopoleion tis Estias editions, Athens 1966, p. 113 (mentioned). S. Lydakis, Geschichte det Griechischen Malerei des 19. Jahrhunderts, doctoral dissertation, Prestel-Verlag editions, Munich 1972, pp. 70, 235 (mentioned).The Greek Painters, vol. I, From the 19th Century to the 20th , Melissa editions, Athens 1974, pp. 141, 150 (discussed).Zygos magazine, no. 6, January-February 1974, p. 14 (mentioned).S. Lydakis, The History of Modern Greek Painting (16th-20th Century),The Greek Painters, vol. 3, Melissa editions, Athens 1976, pp. 176, 473, ft. 381 (discussed), p. 177, fig. 270 (illustrated).A. Xydis, Propositions for the History of Modern Greek Art, vol. II, Olkos editions, Athens 1976, p. 15 (mentioned).M. Papanikolaou, Greek Genre Painting of the Nineteenth Century, P. Pournaras editions, Thessaloniki 1978, pp. 144-145 (discussed), p. 183 (listed), fig. 82 (illustrated).M. Kalligas, Nicholas Gysis, National Bank of Greece Cultural Foundation, Athens 1981, pp. 49, 72, 74, 167 (mentioned), pp. 126-127 (discussed), fig. 6 (illustrated).C. Christou, Greek Painting 1832-1922, National Bank of Greece edition, Athens 1981, pp. 53, 132 ft.408 (mentioned), p. 155 (listed).H. Uhde-Bernays, Die Münchner Malerei im 19.Jahrhundert, 2.Teil: 1850-1900, Bruckmann München editions, Munich 1983, p. 156 (mentioned), p. 93 (illustrated).K. Didaskalou, Kompositionsentwürfe und Studien von Nikolaus Gysis, Magisterarbeit, Munich 1986, p. 95 (mentioned).K. Arseni, Modern Greek Painting, 19th - Early 20th Century, Ministry of Culture edition, Athens 1986, p. 57 (listed).E. Kazolea, Das Allegorische Werk von Nikolaos Gysis, Magisterarbeit, Munich 1988, p. 4 (mentioned). Y. Kairofylas, Nikolaos Gysis, The National Painter, Filippotis editions, Athens 1990, p. 25 (mentioned).K. Didaskalou, Genre- und Allegorische Malerei von Nikolaus Gysis, doctoral dissertation, Munich, 1991, pp. 27-29 (discussed), p. 131 (mentioned).N. Misirli, Gyzis, Adam editions, Athens 1995, pp. 15, 116, 142, 162, 345 (mentioned), pp. 74-76 (discussed), p. 369, no. 30 (catalogued), p. 72, fig. 30 (illustrated), pp. 73, 75 (illustrated - details).Dictionary of Greek Artists, Melissa editions, vol. I, Athens 1997, p. 323 (mentioned).Epta Imeres - Kathimerini newspaper, Nikolaos Gyzis, March 9, 1997, p. 4 (mentioned), p. 3 (illustrated).National Gallery 100 Years, Four Centuries of Greek Painting, National Gallery and Alexandros Soutzos Museum edition, Athens 1999, p. 74 (illustrated).Nikolaos Gyzis and his Era, exhibition catalogue, Elitrochos editions, Patra 1999, p. 19 (mentioned and illustrated).S. Lagouros, Tinos, Art and Artists, Tinos editions, Athens c. 2000, p. 34 (discussed).Gyzis in Tinos, 100 Years from the Death of the Artist
Lot 40
Nikos Engonopoulos (Greek, 1907-1985)Trois philosophes signé en grec et daté '37' (en bas à droite)huile sur toile106 x 93cm (41 3/4 x 36 5/8in).Peint en 1937.signed in Greek and dated (lower right) oil on canvasFootnotes:ProvenanceThe Artist's Estate.Private collection, Athens.ExpositionsAthens, Nicolas Calas residence, Exhibition of Paintings by Nikos Engonopoulos, 1939 (possibly).Venice, XXVII Esposizione Biennale Internationale d'Arte, Greek Pavilion, Nikos Engonopoulos, June 19 - October 17, 1954, no. 2 (listed in the exhibition catalogue, p. 294).Sao Paolo, Brazil, III Bienal de Sao Paolo, Museum de Arte Moderna, July-October 1955 (listed in the general exhibition catalogue, p. 161, no. 1).LittératureFiche Descriptive des Oeuvres Pavillon Grec, Venice Biennale, 1954, handwritten list, p.5, no. 40.K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 204, p. 76 (shown in a 1954 photograph with the artist), p. 241 (illustrated), p. 409 (catalogued and illustrated).Nikos Engonopoulos, Painter and Poet, conference minutes, Benaki Museum, Athens 2010, p. 177, fn.18 (mentioned).Nikos Engonopoulos, exhibition catalogue, Andros, Museum of Contemporary Art - Basil & Elise Goulandris Foundation, 2017, p. 257 (shown in a 1954 photograph with the artist).A significant missing piece of 20th c. Greek art, discovered recently by Bonhams and returned to public view after nearly 70 years,1 this pioneering work—Engonopoulos's first surrealist oil—was shown in the 1954 Venice Biennale,2 where for the first time, Greece was represented by one artist alone.In Venice, Engonopoulos showed alongside such towering figures of modern art as Arp, Ernst, Miro, Klee, Bacon and Magritte, since the exhibition had requested participating countries to adhere to the theme of Surrealism. Prefacing the exhibition catalogue, Biennale's Secretary General R. Palluchini noted: 'Greece devotes its entire pavilion to Engonopoulos, whose work certainly is a surprise to everybody.'Here, the artist subverts—in a typical surrealist fashion—the conventional ways with which rational thought perceives the world by replacing the heads of the three philosophers with archetypal geometric forms. Paying homage to the great Cézanne who exhorted painters to depict reality in terms of simple geometric shapes and volumes, he finds in the cube, the sphere, and the triangle the underlying, basic structure of the world, the all-encompassing essential force that binds the universe. These archetypal forms echo the ideal world of Plato who considered them pure beauty and fundamental elements for building the world. Elemental and three-dimensional, these forms also seem like stemming from a Bauhaus workshop in the 1920s, forming an imaginary cultural bridge that spans the millennia. As noted by Walter Gropius, the great German architect and founder of the Bauhaus School, these original geometric shapes are purely abstract entities that dash through time and all countries, ensuring validity in all human creations.The visual act, set against the schematised and unmistakably Engonopoulian formations of travelling clouds, takes place in a shallow stage-like space that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to explore the correlations between theatrical and pictorial space and introduce the theatrical into his painting,3 has once said that 'under the stage lights, with the most harmonious moves, in a coordinated whole, amidst colours and music, every human dream comes alive, flooding the soul with guileless joy, far from the obligations and obstacles of grim reality.'4 Conceived on a human scale, this kind of contained setting that both frames and accentuates human activity, seems like a faithful emulation of Greece's natural environment. The lack of vast open spaces and supernatural landscapes whose sheer size nullifies the human scale, is a typically Greek element.5 Navigating the viewer to a magical world of poetic metaphor, a host of details trigger various associations ranging from Medieval and Renaissance times (the chequered tilework echoes similar motifs by Mantegna and Giovanni Antonio Fasolo) to Giorgio de Chirico's pittura metafisica (highlighted by the triangular shape used in constructing the philosopher's head). In the left middleground, the red figure carrying a heavy bag possibly alludes to the myth of Sisyphus and the philosophical theory that existence is absurd, while in the upper right corner, the tall buildings perched on a steep hill are reminiscent of similar structures in works by Parthenis and de Chirico. Although the unexpected staging of dream-like scenes is a fascinating feature of Engonopoulos's art, no less impressive is his handling of colour. The shimmering yellow, green and orange tunics worn by the three standing figures and the enamel-like blues and reds applied without tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.1 The painting remained accessible to scholarly research only though a black and while archival photograph published in the artist's catalogue raisonée (see Littérature).2 Up until the mid-20th century the famous Venice Biennale was the only major artistic event worldwide. Especially for outlying countries like Greece, showing in Venice was extremely important on a national level and highly enviable on a personal one.3 P. Rigopoulou, 'Nikos Engonopoulos' in D. Tsouchlou-A.Bacharian, Stage-Setting in Modern Greek Theatre [in Greek], Athens 1985, p. 141.4 Written in 1961 and reprinted in N. Engonopoulos, Works in Prose [in Greek], Ypsilon editions, Athens 1987, p. 30.5 See S. Boulakian, 'The Work of Nikos Engonopoulos' in Greek Painters - 20th Century[in Greek], Melissa editions, Athens 1974, p. 261.This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 11
1928 Chenard & Walcker T11 4 door Limousine No Reserve Registration: BS 9237 Chassis: 94884562 Engine Size: 2200 cc Odometer: 00624 Fuel: Petrol Transmission: 4 speed Manual MOT Expires: Exempt . Very rare thought to be 1 of only 5 manufactured • Imported to the UK from France in 1990 • In current ownership for over 20 years Outside • Red over cream paintwork is very presentable. It does show brush & sanding marks on close inspection • Repair showing on O/S/R quarter • Chrome bumpers in reasonable condition with only slight pitting • Wood inlays on runner boards in good order • Recently fitted new Michelin period tyres all round Inside • Light brown with red piping velour seats are clean and have no rips • Matching door cards & carpets • Wood trim on the dashboard & door tops is crack free Mechanical • Fitted with a Land Rover 2.2 petrol engine by the current owner (The original engine is available) • The engine starts well and runs smoothly • Original 4 speed gearbox is mated to the Land Rover engine with a conversion plate and is good order • The brakes need a firm press but pull the car up well History • V5C registration document shows the car as manufactured in 1928 • First date of registration in the UK was 2004 • Imported to UK from Brittany France in 1990 • Steadily restored and improved since import • Has been used for over 40 weddings by it's current owner • 2 - Original owners handbook (but in French!) • Chenard & Walcker were a French car manufacturer renowned for 1st & 2nd place at Le Mans in 1923 Our Opinion An opportunity to own and enjoy a very rare and unusual car from the 1920's! Great for shows and also weddings as proved by it's current owner!
Lot 7
2003 Porsche Boxster 2.7 5 speed manual convertible roadster No Reserve Registration: SV53 EHZ Chassis: WPOZZZ98Z4U601284 Odometer: 82,069 Engine Size: 2700 cc Fuel: Petrol Transmission: 5 speed manual MOT Expires: 19/10/2023 . Eye catching metallic silver • Sought after 18 inch Carrera Light 5 spoke alloys • Heated seats Outside • Deep gloss on the desirable metallic silver paint • No notable dents or scrapes • Minor stone chips on the bonnet & front bumper • Small area of bubbling under O/S/R quarter air intake • Light lenses are a little yellow/dull but could be refurbished • Glass all chip & scratch free • All 18 inch alloy wheels present well with no kerb damage only slight bubbling to some inner spokes • Blue hood has no tears but has a slight fray around the size of a 10p Inside • Grey leather interior is in good condition with black Porsche over mats • This Boxster has the welcome extra of heated seats • Original stereo system with CD auto changer Mechanical • Engine starts well and revs freely with no rattles • 5 speed gearbox and clutch are smooth and positive • Brakes bring the car to halt in a straight line with a solid pedal History • Only 4 former keepers • Original book pack & part service history with 6 stamps • Quantity of receipts Our Opinion An eye catching Boxster with rare wheels and a great colour.
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