GABRIEL. A STAINLESS STEEL MANUAL WIND CUSHION FORM CHRONOGRAPH WRISTWATCHDate: Circa 1976Movement: manual windDial: Cream, applied polished baton hour markers, white outer 1/5th second divisions to black surround, further outer tachymetre scale, black subsidiary dials at 3, 6 and 9 for constant seconds, 30 minute and 12 hour recording, polished pointed baton hands with luminous inserts, orange centre chronograph handCase: Brushed and polished cushion form, screw down back, personal engraving reads 'Trophée Prince de Chimay 6-6-76', crown flanked by twin pushersStrap/Bracelet: Black leatherBuckle/Clasp: Steel buckleSize: 40mm This watch was awarded at the 'France de Chimay' race on 6 June 1976. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
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Offered from the National Motorcycle Museum Collection1982 Hesketh 992cc Vampire Registration no. WCP 111XFrame no. unable to locateEngine no. 0053•Rare Hesketh variant•An older restoration•Dry stored since 1994Brainchild of wealthy aristocrat and Formula 1 team owner Alexander, Lord Hesketh, the Hesketh V1000 promised to be an all-new British superbike in the Vincent mould. The proposed design had all the right ingredients: 1,000cc 8-valve Weslake v-twin engine, nickel-plated Reynolds 531 frame, Brembo brakes and Astralite wheels; if only they'd got Rod Quaife to design the gearbox... Rushed into production before it was ready, the V1000 was panned by the critics - the gearbox in particular - and when the receivers pulled the plug in 1982 only 170 had been made. The sole derivative of the original V1000 was the even rarer Vampire, a super tourer equipped with fairing designed by John Mockett. Small-scale production was restarted later by successor-company Hesleydon Ltd at the Hesketh family seat at Easton Neston where, over the years, development engineer Mick Broom managed to eradicate virtually all the V1000s shortcomings. Mick continued to provide a service to the small but dedicated band of owners of this most exclusive British motor cycle from new premises at Turweston Airfield near Brackley, Northamptonshire. In September 2008, he put the business up for sale, and the Hesketh side of Broom Development Engineering was acquired by Mr Paul Sleeman. The business relocated to the south of England where it was intended to continue the service to Hesketh owners. Some 35 years on, the Hesketh is regarded somewhat differently, and nowadays is considered highly collectible on account of its rarity and status as one of the British motorcycle industry's more fascinating 'might have beens'. And there's no denying that it is one immensely handsome motorcycle. The sole derivative of the original V1000 was the even rarer Vampire - a super tourer equipped with fairing designed by John Mockett. This example was acquired by the Museum at Bonhams' Stafford Sale in October 2004 (Lot 388, purchase receipt on file). The previous owner had acquired the Vampire in 1989, at which time it was in very poor cosmetic and mechanical condition. Subsequently the cycle parts were refinished to concours standard by Raven Paintwork and the engine - '0053', believed the oldest surviving Vampire unit - rebuilt by Mick Broom. At time of purchase the Hesketh had been in dry storage since 1994. Accompanying documentation includes an owner's manual; restoration bills/records; three expired MoTs; and an old-style V5C. The machine's mechanical condition is not known; accordingly, prospective purchasers must satisfy themselves with regard to its condition, completeness, correctness, or otherwise prior to bidding. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
1989 Hesketh 1,100cc VortanRegistration no. not registeredFrame no. noneEngine no. none•The sole Vortan made•Offered for sale by Mick Broom•Requires re-commissioning (see text)Brainchild of wealthy aristocrat and Formula 1 team owner Alexander, Lord Hesketh, the Hesketh promised to be an all-new British superbike in the Vincent mould. Prematurely rushed into production, the V1000 was panned by the critics and when the receivers pulled the plug in 1982 only 170 had been made. Successor-company Hesleydon restarted small-scale production at the Hesketh family seat at Easton Neston where, over the years, development engineer Mick Broom managed to eradicate virtually all the V1000's shortcomings. One of Mick's projects was the limited-edition Vortan: an extensively reworked and restyled alternative to the original that was intended to mark the first 10 years of Hesketh production. It was planned that 14 would be built, but the project foundered when only eight deposits were forthcoming. Mick's fresh approach combined the basic architecture of the V1000 original with a different approach to the styling, while the engine was enlarged, and size and weight reduced wherever possible. The Vortan engine retained many of the earlier model's details such as four-valve heads, double overhead cams, electronic ignition, and a five-speed gearbox, while the capacity was increased to 1,100cc with a longer stroke; other changes included a steel crankshaft and different ignition, cams, and cylinder heads. The running gear likewise was comprehensively upgraded, featuring a new stainless steel frame; Marzocchi front fork; Marvic magnesium wheels; Lockheed racing front brakes; Brembo rear brake; and hydraulically damped rising-rate rear suspension with gas spring to achieve a better ride. Offered for sale by Mick Broom, the prototype offered here is the sole Vortan made. Mick advises us that all parts are new and that the machine has never been run. There are internal components missing and Mick is preparing a list of parts and actions required to commission the Vortan as a runner. All the parts have been drawn and manufactured but the passage of time means some will need replacing; accordingly, the machine is sold strictly as viewed and without documents. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
1948 Nimbus 750cc FourRegistration no. 843 XURFrame no. 7701Engine no. 12946Resulting from diversification by the Danish vacuum cleaner manufacturer, Fisker & Nielsen, the Nimbus motorcycle first appeared in 1919. Unusually, only inline four-cylinder models were built. Motorcycle production was suspended in 1928 to enable the company to concentrate on producing vacuum cleaners, and when the new Nimbus appeared in 1934 it was with an overhead-camshaft power unit that showed strong motor-industry influence, being constructed along car lines with integral cylinder block in cast iron and a detachable alloy sump. Foot change for the three-speed gearbox, a beefier front fork, and larger brakes had been added by the end of the 1930s, but from then on the Nimbus changed little until series production was ended in 1954, once again to free up resources for the vacuum cleaner business. Production was always on a limited scale, but such is the quality of the Nimbus that many remain in service today. This Nimbus has been in its current restored condition since 1988 when it was acquired by the Professor Fritz Ehn Motorcycle Museum Collection in Austria. Since its acquisition in 2008, the Nimbus has been one of the owner's favourite machines to ride. Not used for around 18 months, it will need light re-commissioning, including a new 6v battery, before returning to the road. Offered with a VMCC dating letter, V5C Registration Certificate, and a history file. Footnotes:As with all Lots in the Sale, this Lot is sold 'as is/where is' and Bidders must satisfy themselves as to the provenance, condition, age, completeness, and originality prior to bidding.For further information on this lot please visit Bonhams.com
A 1940s Breitling Telemetre Chronograph watch, the black signed dial with Arabic hour markers, subsidiary dials to 12 and 6, tachymetre scale, within a stainless steel case, numbered 436540, case diameter 32mm.Condition report: Overall condition fair to goodWatch not currently working at time of cataloguing, possibly over woundScratches and abrasion in keeping with age and wearLight foxing to the dialNo strap or bracelet
Browne, John. The Mirrour of Architecture: Or the Ground-Rules of the Art of Building, Exactly laid down by Vincent Scamozzi, Mr. Builder of Venice, by Joachim Schuym of Amsterdam, Translated out of Dutch by W. F., London: Printed for William Fisher, 1669. Title; four-page dedication 'To the Lovers of Architecture'; engraved plate showing Tuscana and Composita; two-page description of scale; 24-page Description of the Five Orders of Architecture; 40 numbered copper-engraved plates; title for The Description and Use of an Ordinary Joynt-Rule Fitted with Lines, by John Browne, London: William Fisher, 1669; 29-page description of Joynt-Rule (including table and one tipped-in engraved plate showing angles). Small quarto, full contemporary leather binding. Occasional ink inscriptions and marginalia, some owner inscriptions crossed through. Contents with heavy toning, handling marks, wear to page edges; loss to corner of first page Description; leather binding worn with loss, upper board detached, as found. Very scarce
Late Victorian carved walnut stick barometer, anonymous, the white ceramic scale printed for 10am Yesterday and 10am To Day with Remarks, flanking partially exposed main tube and twin verniers, the moulded figured trunk with ogee-arched carved flowerhead decorated pediment and carved wings over mercury thermometer and carved cistern cover, 102cm high Condition: Missing one wooden Vernier adjusting knob, otherwise sound - **General condition consistent with age
A mahogany serving table in George III style, circa 1890, the rectangular top above the acanthus carved frieze finished on all sides, on acanthus and scale carved rectangular tapering legs, headed by foliate terminals, on floral carved rectangular feet, 96cm high, 208cm wide, 87cm deep Provenance: Dalby Hall, Lincolnshire Purchased from Anthony Outred, 18th January 2000 (£9,900) A photograph of the original receipt is available with this lot.
Y A Victorian ornamental table thermometer modelled as the Monument to The Great Fire of London, George Staight, London, circa 1845, the column with square platform applied with pierced balustrade surrounding flambeau final mounted on a pedestal, the tapered fluted shaft applied with mercury tube FAHRENHEIT and REAUMER scale thermometer signed G. STAIGHT, SKINNER STREET, LONDON to upper margin over base with complex engine-turned mouldings, the whole standing on a rectangular plinth applied with a silver crest modelled as a standing leopard over stepped skirt, 60cm (23.5ins) high; with moulded mahogany base supporting glass dome cover 69cm (27ins) high overall George Staight is recorded on The National Portrait Gallery website resource of 'British Artists Suppliers, 1650-1950' as an ivory cutter and turner, also working in other materials working from 72 Collingwood St, London 1827, 5 East Harding St, Gough Square, 7 East Harding St 1829-1842, 9 Skinner St, Snow Hill 1843-1846, 2 Bull Head Court, Newgate St 1847-1860, 17 Bath St, Newgate St 1861-1866.
A Northern French or possibly Mosan polychrome painted limestone Sedes Sapientiae, probably 14th/early 15th century, the fragmentary, draped Virgin portrayed on a stylised throne and balancing the Christ Child, wearing a tunic, on her knees, on a rectangular section plinth with indistinct inscription, 36cm high overallThis frontal, formal portrayal of the Virgin with the Christ Child standing on her knees has its roots in Byzantine iconography. Statues of the Virgin seated on a Solomonic throne were part of French liturgical practice, and are often executed on a smaller scale so they could be moved and carried.The heavy folds of the draperies and incorporation of a low-backed chair shares similarities to examples from the Meuse valley, note for example Sotheby's London, 9 July 2015, lot 9 (in oak).For further reading on this iconographic type, mainly centred on wood sculpture though citing some examples in stone, please see I. H. Forsyth, Throne of Wisdom, Princeton University Press, 2019.Condition Report: Fragmentary, some losses to finish, old repairs.Plaster repair to rear of socle.Lacking heads.Condition Report Disclaimer
Cristophe Fratin (1800-1864), a patinated bronze model of a 'Literary Bear', the anthropomorphic bear portrayed seated in an armchair, reading and holding a pipe, with stamp FRATIN to base with 'N' in reverse, and with further inscription Fratin to the maquette, approximately 17cm highProvenance: British Private CollectionAcquired by the present vendor at Sotheby's London, Nineteenth Century Decorative Works of Art and Furniture, 23 June 1983, lot 151Fratin's distinctive style isn't as much about minute anatomical detail as it is about evoking a subject with sharp modelling and, not unimportantly, a sense of humour. While the sculptor created several monumental commissions during his lifetime (such as the large group of Eagles and their prey in New York's Central Park) he is most renowned for his small-scale depictions of anthropomorphic bears and monkeys, which defied the more formal conventions of sculpture at the time. Around fifty models of anthropomorphic bears engaged in a range of activities by Fratin are known, and this bronze is a great example of Fratin's witty subject matter.A cast of this model was sold at Christie's South Kensington, 27 March 2007, lot 194 (£4,320)Condition Report: The bronze bears the usual minor marks, knocks and scuffs overall consistent with age.The patina is a shiny warm brown, with a reddish tinge. Possibly bearing some varnish.Update to report: it has been pointed out to us that in fact the bronze is lacking a section of the pipe, which was broken off. This section has been found and is sold with the lot.Condition Report Disclaimer
A North Italian, probably Venetian, polychrome painted terracotta model of Balthazar, 18th century, the turbaned King portrayed standing in elaborate costume and drapery, holding a box of myrrh, flanked by an attendant carrying an urn, on a naturalistically modelled rockwork base, 32cm high, 22cm wideThe subject's princely costume and attributes of a casket and urn suggest this statuette represents St Balthazar, one of the three magi, who is often depicted as a black king.The medium of terracotta, both for artists' models and independent works, rose to popularity among sculptors and connoisseurs during the 18th century. The tactile, pliable quality of the material was by some considered to convey the artist's 'fire' and talent in a more direct way than marble could. The medium proved particularly popular for small-scale portrait and genre sculpture, as is the case with the present lot. Statuettes of this kind with elaborate costume and vibrant polychromy were often produced in Venice, note for example the 18th century models of characters from the Commedia dell'Arte in the collection of the the Museo della Scala in Milan.Further literature: in relation to the development of small-scale terracotta sculpture, see J. Draper and G. Scherf, Playing with Fire: European Terracotta Models, 1740-1840, Metropolitan Museum, 2003For a similar single figure model of King Balthazar also portrayed carrying a box of myrrh, see Sotheby's Paris, 17 June 2015, lot 191 (EUR 3000).Condition Report: The model bears the usual minor marks, knocks and scuffs overall consistent with age, and some wear to the polychromy.Some minor chips and losses, including to the tip of the attendant's sword as well as the top of his head and his nose, and the back of the taller figure. Possible repainting to the boots.There is a circular aperture to the rear of the taller figure. The base is a naturally irregular shape and does not sit entirely flush when placed on a flat surface, though it is entirely stable.Condition Report Disclaimer
A George III mahogany table silver table, circa 1760, in the manner of Thomas Chippendale, the serpentine shaped top with pierced gallery, above a plain frieze, on lappet and scale carved legs, joined by a shaped and pierced X stretcher, 73cm high, 75cm wide, 49.5cm deep Provenance: Private Collection, BerkshireCondition Report: Marks, knocks, scratches and abrasions commensurate with age and use. Some old splits and chips. Old repairs. Various old glued repair to gallery. Section of gallery detached but present (approx 4cm). Some old veneer repairs to frieze with the veneer lifting slightly in places. Old glue and nail repairs to tops of all legs where they meet the frieze. Old repairs made to splits through three legs. Feet are old replacements. Please refer to additional images for visual reference to condition. Condition Report Disclaimer
CONTINENTAL IRON AND BRASS CURULE CHAIR 19TH CENTURY with brass flattened knop finials, with a distressed red velvet cushion with tassel trim(71cm wide, 82cm high, 42cm deep)Footnote: Note: The Thrie Estaits was an emporium of wonders. Set up by Peter Powell in Edinburgh in the early 1980s, the shop in Dundas Street was a treasure trove of the eclectic, the beautiful and the quirky. It was hard to find a shop like it, and for nearly forty years it was the go-to for extraordinary works of art. Peter trained in silversmithing at Glasgow School of Art in the late 1960s and after graduating worked at Elders in Charing Cross. Elders were pioneers in Glasgow in the promotion of contemporary design, especially the Scandinavian and Italian designers, appealing to Peter’s eye for the unusual. From Elders, he graduated to the Dovecot Studios in Edinburgh to work on their range of tiles. The studio was set up by the Marquis of Bute predominantly as a studio for weaving tapestry although the tile-making offshoot was given a space in the studio. Peter continued making tiles when the Dovecot Studios closed their tile-making operation, but he also started to buy and sell antique tiles and other small objects too. He finally bought his own shop in Dundas Street Edinburgh where he was able to expand into other disciplines and where larger items could be displayed. Peter named the shop The Thrie Estaits after the 16th century satirical play of the same name by Sir David Lindsay – a commentary on the church, the state and the common man and a reflection too of the variety of the stock. Before long the shop became known around the country for its interesting and eclectic contents. One customer describes how his visits “felt like entering an antique shop in Spain or Portugal, filled with a miscellany of desirable objects, a number of which I then acquired and scattered throughout my home. Their emporium had two enticing windows set back from the street - one of the windows involved standing over a pierced cast iron grille, always hoping it wouldn’t give way, but worth the risk! A few steps down to enter another world and at the back, beyond where Peter sat, lay a further room with a window and it too was laden with treasures.……”. Certainly the shop could be described as small but absolutely packed with things, though always displayed with thoughtful care and some verve, wherever possible! Peter and his long-standing partner Walter Gordon often benefitted from the cheerful help of Roger Cave, a wizard on the internet. They dealt with clients ranging from museums and institutions to dealers such as Roger Warner at Burford and Gretchen Andersen at the Lacquer Chest in London, amongst other tastemakers drawn to the shop. More recently Peter moved The Thrie Estaits to East Lothian where he has traded successfully for a number of years at Fenton Barns. After over 40 years he has made the difficult decision to close and to turn full circle, returning to collecting, restoring and selling objects on a smaller scale.
Y VICTORIAN CARVED WOOD & PAINTED BAROMETER 19TH CENTURY with silvered dial and subsidiary thermometer scale, held within case carved with nautical motifs and an ivory knop(115cm high)Footnote: Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit http://www.defra.gov.uk/ahvla-en/imports-exports/cites/
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186097 item(s)/page