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![A Victorian 15ct gold ladies ornate brooch set with a single sapphire surrounded by 6 Diamonds. [3grams]](https://cdn.globalauctionplatform.com/a29f2876-7b06-4bb6-8595-ac0200872d36/eaa01166-47df-4c91-8636-ac06008a1483/468x382.jpg)
Lot 616
The E46 M3 CS Leichtbau, was the definitive 'Touring Car' for the road. Only 9,000 miles from new.A stunning right-hand-drive example with only 9,000 miles from newPresented in Silver Grey metallic with an immaculate black interiorOne of only 1,383 examples produced during the 2004 production runThe CSL's unique body panels, including the roof, were all crafted from carbon fibrePowered by a modified version of the usual 3,246cc S54 inline-six producing 338bhpExclusive SMG II transmission with launch control. 'M Track' mode on the DSCWhen a company with one of the greatest saloon car racing histories of all time and an engineering department with the greatest minds and billions at its disposal produces a car designed to be the best, you better believe it is. With only 1,383 produced during its 2004 production run, the E46 M3 CSL, the L stood for Leichtbau, was the definitive 'Touring Car' for the road. Available in only two colours, Silver-Grey metallic and Black Sapphire metallic, the CSL was powered by a modified version of the usual 3,246cc S54 inline-six, mated to the exclusive SMG II transmission. This state-of-the-art transmission featured a launch control mode that automatically shifts at the optimum point for maximum acceleration, and this, in turn, was mated to the standard E46 M3 final drive and M Differential Lock. Finally, the DSC can be switched to 'M Track' mode with a steering wheel-mounted button, raising the threshold at which the system intervenes to allow for some degree of wheelspin. Zero to sixty is in an incredible 4.6 seconds, totally remarkable in a car with four comfortable seats, electric windows and a boot for the weekly shop. BMW's 'Leichtbau' philosophy in terms of the mass-produced M3 was, not only to reduce weight overall but to distribute the weight savings to retain the E46 3-Series' perfect 50-50 split. To get the centre of gravity as low as possible, the CSL adopted many weight-saving technologies from BMW's Formula One racing applications. A large proportion of the M3's sound insulation was removed, along with the electric seats and navigation systems. The CSL's unique body pieces, including the roof, were all crafted from carbon fibre, glass-reinforced plastics were used throughout structural points in the car, and the standard rear window was replaced with one made from thinner glass. The results were considerably more effective than the 110kg. weight saving would suggest, as the reduction in mass in conjunction with the lowered height of that mass and less body flex led to a dramatic improvement in dynamics, and the car would turn left and right in a much more eager fashion, which, in fact, was the idea. One of only 422 UK-supplied BMW CSLs, this lovely example has covered just 9,500 miles from new. It was factory supplied with the options of air conditioning, sound system, and Xenon headlights but with a 'factory delete' of PDC (park distance control).It's been fitted with AP Racing brake calipers and KW shock absorbers and has a full main dealer service history from new. It was laid up, accident-free, and with just over 9,000 miles recorded in 2012 as part of the very significant private collection of Mr Graeme Dacre CBE, the former owner of Lind BMW. It was brought out of hibernation just 4 weeks (and 4 miles!) ago and has been subject to a complete service and fresh MOT at Dick Lovett Specialist cars carried out in June 2020.It's supplied with a comprehensive history file, the original service books and hand pack in the original BMW wallet, and presents in outstanding condition today, ready to be enjoyed as one of the most special BMW Coupés ever built. You can now book a one to one appointment (up to one hour) to view this lot at our central location between 16th and 30th July. Please contact Nick Whale on 07831 440 158 / nick@silverstoneauctions.com to secure your appointment or to discuss the car in more detail. The health and safety of both our customers and team remains the utmost priority, we are therefore operating to strict COVID-19 guidelines and full instructions for arrival and inspection protocols will be given when making your appointment.Click here for more informationSpecification:Registration: TBCYear: 2004Make: BMWModel: E46 M3 CSLRHD/LHD: RHDChassis Number: WBSBL96080JC98301Odometer Reading: 9000Engine Capacity: 3246Engine Number: 60693125
Lot 438
* Attributed to Nicholas Chevalier (1828-1902). Portrait of Queen Victoria, after Franz Xaver Winterhalter (1805-1873), circa 1857-1861, oil on canvas, three-quarter length portrait half-profile to left, depicting a young Queen Victoria against a landscape, wearing a white silk satin and lace gown and the Order of the Garter, her hands crossed one over the other, and a pink and a white rose hanging down on stems from her left hand, with a gold locket around her neck, sapphire and diamond brooch, a jewelled armband, and a sapphire and diamond tiara worn at the back of her plaited and looped hair, superficial scratch to lower right, and a few small unobtrusive marks upper left, sometime trimmed and re-lined, with some splitting to edges of re-lining at corners, stretcher with old printed label '44800', 139.7 x 105.3 cm (55 x 41.5 ins), contemporary substantial gilt moulded wood frame, with borders of stylised acanthus leaves and voluted drawer handles, and scrolling ribbon motif to outer edge, some discolouration and minor superficial chipping to gilt in a few places, with old framer's label on verso 'Richard Foster Norton, 83 Collins St. East, Melbourne', together with two typed letters relating to the painting: one from J.F Kerslake, Assistant Keeper at the National Portrait Gallery, London, dated 30th September 1964, stating "Your portrait is a version of the well-known portrait of Queen Victoria by Winterhalter painted in 1842"; the other from Ursula Hoff, Acting Director of the National Gallery of Victoria, dated 10th October 1968, saying " ... the portrait of Queen Victoria, after Winterhalter, is hanging at Government House in Melbourne ... "Qty: (1)NOTESProvenance: Collection of Jack Webb (1923-2019), London. In 1842 Franz Winterhalter was asked to paint Queen Victoria's portrait, as well as a companion piece depicting Prince Albert. They were the first of many works to be commissioned from the artist, and the finished paintings were hung on the walls of the White Drawing Room at Windsor Castle, where they hang still. The portrait of Victoria proved to be one of the most popular and reproduced images of her, and many replicas were produced for relatives, other sovereigns, organisations, and institutional buildings, some executed by Winterhalter and his studio, others by various artists. Indeed, almost immediately Winterhalter was asked to paint copies for presentation to King Louis-Philippe of France, who installed them in the Musée du Roi at Versailles where they remain today. This second version of the Queen is markedly different from the first, depicting a more elegant and formal sovereign, wearing the Order of the Garter, amongst other additional details. In the mid 1850s copies of Winterhalter's pair of paintings arrived at Government House in Melbourne, that of the Queen being based on Winterhalter's second version of the sovereign. The fact that the present work also echoes version two, and the presence of the Melbourne-produced period frame would indicate that it is a high quality copy of the Melbourne portrait. Certainly it is known that one copy was made - for Government House in Sydney - and the current work was likely commissioned for another official building or important personage. Richard Foster Norton - gilder, carver, frame maker and print seller - was active between 1855 and 1865, and was known to be working at 83 Collins Street East between 1857 and 1861, suggesting that the painting was made fairly soon after the arrival in Melbourne of the first pair. Russian-born artist Nicholas Chevalier is one of the very few artists working in Melbourne at the time who was capable of producing a work of this quality, and who already had close connections with the British royal family. He studied painting and architecture in Switzerland and Munich, and in 1851 he travelled to London to see the Great Exhibition, where he trained as a lithographer and exhibited at the Royal Academy. His first association with royalty appears to have been at this time, when he designed the setting for the Koh-i-Noor diamond and was commissioned to design a fountain for the grounds of Osborne House. After studying for a time in Rome he sailed to Australia, arriving in Melbourne in February 1855. His work there as an artist was numerous and varied: amongst other things he worked as a commercial illustrator, was instrumental in founding the Victorian Society of Fine Arts, had his oil painting 'The Buffalo Ranges, Victoria' chosen as the first Australian work of art to be purchased for the National Gallery of Victoria in 1865, and later, after settling in London in 1870, worked for the London Selection Committee of the Art Gallery of NSW, assigned to purchase watercolours by living British artists. When Queen Victoria’s second son, the Duke of Edinburgh, arrived in Melbourne in 1867 as part of his world tour, Chevalier accompanied the royal party as correspondent for The Illustrated Australian News . He was subsequently invited to join the Duke’s entourage for the voyage back to England, documenting the journey with sketches and watercolours which were exhibited at the Crystal Palace and at the South Kensington Museum in 1872. On his return to England his association with the royal family strengthened, and he received numerous commissions, including that from Queen Victoria in January 1874 to go to Petersburg and document in paint the marriage of the Duke of Edinburgh. Chevalier's work demonstrates a versatility of technique and subject matter, from the execution of small-scale cartoons and landscape watercolours, to the production of large portraits in oils. A comparison with the portrait of 'Dr Maund' in the National Gallery of Victoria, painted in 1863, shows a similarity in the delicacy of the brushwork to delineate, for instance, the eyebrows and other fine details, as well as a similar use of bodycolour to produce subtle highlights to eyes, nails, jewellery, and other details. Chevalier seems to have favoured setting his subjects in sharp relief against a dark background, which he did when painting his own self-portrait, and thus would perhaps have been a natural choice to reproduce a picture in which a dark backdrop was dictated and the subject must shine. ( Franz Xaver Winterhalter , Richard Ormond and Carol Blackett-Ord, National Portrait Gallery, 1987, p.190).
Lot 2011
Edwardian 9ct gold split seed pearl star brooch, Chester 1907 and gold old cut diamond, sapphire and garnet bar brooch, stamped 9c Condition Report star brooch approx 2.1gm, diameter = 25mm, back pin not gold, other approx 2.55gm, length = 40mm back pin is goldClick here for further images, condition, auction times & delivery costs
Lot 384
Diamond and sapphire dress ring, the feature old cut round diamond 0.25ct approx, flanked on either side by two smaller old cut diamonds, each collet set within a channel set calibre cut sapphire surround, the elevated gallery with small diamond set tapering shoulders, (unmarked), tests for Platinum, finger size N
Lot 189
A lady's victorian 18ct yellow gold and platinum Sapphire coloured and Diamond dress ring. The ring is set with 30 small diamonds of various sizes estimated total weight 0.50cts. To the centre of the ring is an Oval cut sapphire coloured stone measuring 12 x 10mm. Estimated weight of sapphire is 5.00cts. Ring weighs 5.0 grams in total. Finger size "N"
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