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Lot 377
A Cyclar Chrongraphe Suisse wristwatch, with a hand-wound Swiss movement in a rose metal stamped 18kt case measuring 38mm with a black dial with rose coloured numerals including a precise telemeter scale and two subdials for seconds and minutes and dommed acrylic glass on a genric strap and deployment buckle.The watch appears to be in good working order, long term tests have not been performed and accuracy cannot be guaranteed a full service is advised upon purchase.The watch has a large dent in the case and numerous scratches and wear, the dent appears on the side of the case at 9 o'clock
Lot 30
FRANCISCO BONILLA VILLALBA (Fernán Núñez, Córdoba, 1920 - Madrid, 1978)."Galloping horse".Bronze.Signed on the base.Measurements: 43 x 23 cm; 55 x 17 cm.Francisco Bonilla began working with clay and metal in his native town, and after finishing high school in 1937, he entered the School of Arts and Crafts in Cordoba. From there he moved to Seville to study at the Santa Isabel de Hungría Academy. He finally completed his training in Madrid at the San Fernando Academy, where he specialised in sculpture. His continuous health problems affected his professional development, preventing him from undertaking large-scale works, and he therefore devoted himself to making small pieces in bronze. His favourite theme was animalism, in which he established himself as one of the most qualified interpreters in our country. He masterfully portrayed the world of bullfighting and the wild animals of the Andalusian mountains, as well as female nudes and religious imagery of great quality, many of which were commissioned by his native city.
Lot 22
Nikos Engonopoulos (Greek, 1907-1985)L' Archéologue signé en grec et daté '43' (en bas à droite)huile sur toile74.5 x 56.5cm (29 5/16 x 22 1/4in).Peint en 1943.signed in Greek and dated (lower right)oil on canvasFootnotes:ProvenanceThe artist's estate, Athens.ExpositionVenice, XXVII Esposizione Biennale Internationale d'Arte, Padiglione della Grecia, Nikos Engonopoulos, June 19 - October 17, 1954, no. 17 (listed in the exhibition catalogue, p. 295).LittératureArdin magazine, no. 57-58, December 2005 - February 2006, p. 27 (illustrated).N. Engonopoulos, Man: the Measure, Ypsilon/Books editions, Athens 2007, p. 47 (listed), p. 7 (illustrated).K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural, exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, no. 309, p. 64 (illustrated), p. 257 (illustrated), p. 424 (catalogued and illustrated).N. Chaini, The Painting of Nikos Engonopoulos, doctoral dissertation, National Technical University of Athens, 2007, pp. 665-666 (discussed), p. 977 (listed), p. 667, fig. 278 (illustrated).Painted in 1943, the year Engonopoulos wrote his emblematic Bolivar, L'archéologue is no less a masterpiece, introducing the viewer to a magical pictorial world of poetic metaphor. Merging symbols of different origin and character, and using cross-temporal iconographic leaps that were common during the Byzantine and Post-Byzantine eras in miniature manuscripts and narthex decoration,2 Engonopoulos combines the ancient past with modern-day elements to subvert, in a typical surrealist fashion, the conventional ways with which rational thought perceives the world. Yet, as noted by theatre director and playwright Alexis Solomos, what is astonishing with him is the all prevailing spirit of Greece in his work. 'Everything Engonopoulos touches becomes Greek.'3 Here, set against a bright blue Greek sky interrupted by an ancient temple, a schematized tree and an unmistakably Engonopoulian travelling cloud, the visual act takes place in a shallow space reminiscent of a stage set that heightens the overall sense of theatricality. Engonopoulos, who never hesitated to introduce the theatrical into his work, has once said that 'under the stage lights 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 At the centre of the composition, a standing figure in a green tunic, possibly the archaeologist himself, seems determined to gain control over this fascinating gathering of images and restore a sense of order. Captured both frontally and in profile by means of the late cubist pictorial convention of contraction, he is flanked by a phantom figure with a picassesque head and a dazzling red clamys, and a helmeted kouros-like warrior holding a walking stick and a topper hat. The three monumental figures are being stared at by a woman-like wig stand with voluptuous curves and daringly rendered nipples, while a host of details, including a Doric column drum juxtaposed to ionic volutes in the extreme foreground, a lamp (a distinct and recurring theme in Engonopoulos's work with symbolic overtones), a chequered tile, and the artist's signature red-and-white bathing suit partially shown on the right, undermine the accepted narrative cohesion of images to explore the uncharted trails of the mind. Although this unexpected staging of dream-like images and objects is a fascinating feature of the work, no less impressive is the handling of colour. Dazzling reds, blues, greens and oranges, applied side by side with minimal tonal gradations, sparkle like rubies and emeralds, making the entire pictorial surface shine like a stained-glass window in a Gothic cathedral.L'archéologue was exhibited in the 1954 Venice Biennale6, where, for the first time, Greece was represented by one artist alone. As noted by K. Perpinioti-Agazir, who prepared the painter's catalogue raisonné, this was perhaps the most important milestone in Engonopoulos's career.7 In Venice, he 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.'1 O. Elytis, Open Papers [in Greek], Asterias editions, Athens 1974, p. 294.2 See D. Vlachodimos, Reading the Past in Engonopoulos [in Greek], Indiktos editions, Athens 2006, p. 228.3 J. Lehman ed., New Writing and Daylight, New Direction editions, England 1946, p. 126.4 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. 261.6 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.7 See K. Perpinioti-Agazir, Nikos Engonopoulos, Son Univers Pictural [in Greek and French], exhibition catalogue and catalogue raisonée, Benaki Museum, Athens 2007, p. 78.For further information on this lot please visit Bonhams.com
Lot 45
Yiannis Moralis (Greek, 1916-2009)Pleine Lune I inscription en grec, signé et daté '1977' (en bas à droite); inscription, signé et daté 'Yannis MORALIS/ Athènes -Grèce/ 1977' (au revers)acrylique sur toile146 x 124cm (57 1/2 x 48 13/16in).signed and inscribed in Greek and dated (lower right); signed, dated and inscribed (on the reverse)acrylic on canvasFootnotes:ExpositionAthens, Zoumboulakis Gallery, Moralis, March 1978, no. 25 (illustrated in the exhibition catalogue).LittératureSima magazine, no. 22, no. 5, March 1979, p. 48 (illustrated).T. Spiteris Archive, Tellogleion Art Institute, Thessaloniki, c. 1980, no. GR TITSpit f636_57, p. 4 (illustrated).Yannis Moralis, Commercial Bank of Greece Group of Companies edition, Athens 1988, no. 251, p. 255 (illustrated).To Tetarto magazine, no. 35, March 1988, p. 70 (shown with the artist in a photograph from his 1978 one man show at the Zoumboulakis Gallery, Athens).C. Christou, Moralis, Adam editions, Athens 1993, no. 176 (illustrated).Tenderly embraced by a soft glow of youthful radiance and enthralled by the poetry and eroticism of the curved line, Full moon I's graceful forms reflect the artist's long preoccupation not only with the schematised and suggestively rendered human figure, but also with the inner rhythm and musical resonance generated by the daring combination of varied types, shapes and colours. As aptly noted by Professor D.N. Maronitis, 'Moralis's paintings take us directly to the wondrous world of pure vision, which emerges, however, from the world of touch.1 Demonstrating solid structure, purity of form, poetic abstraction, disciplined rhythm, harmonious proportions, and ingenious interplay of gently flowing curves, Full Moon I achieves a striking balance between feeling and thought. The figures are broken down to their constituent parts and then reassembled; as a result the lines take on a symbolic import and respond to each other by means of their contrasts and similarities. As noted by Nobel laureate O. Elytis 'by using a limited vocabulary of form, in which recurrent and opposing curves of ochres and blacks dominate, Moralis has succeeded—in a manner unprecedented in Greek art—to transform the language of the natural world into a purely optical phenomenon. Memories and encounters are repeatedly distilled until they blend into forms of great simplicity and precision.'2 Reviewing the artist's work from the late 1970s, art history Professor C. Christou incisively noted that in these paintings 'we overhear an internal dialogue between warm and cool colours, active and passive themes, hard and soft forms, fluid and fixed lines, all of which contrive to create an astonishingly expressive effect. Moralis remains true to the human figure, notwithstanding that he portrays it in such a simplified and schematic manner that it takes on the appearance of a mere suggestion.'3 Likewise, K. Koutsomallis, Director of the Museum of Contemporary Art of the Basil and Elise Goulandris Foundation, noted: '1976 marks the beginning of a new period in his work devoted exclusively to geometric abstraction. Forms now become wholly immaterial, dissolving into pure schemata. Their monumental character does not reduce their sensuality. On the contrary, eroticism acquires its transcendental expression. In no way does this sensual robustness of form -vaguely reminiscent of nude human figures- take anything away from their graceful tenderness, lyrical quality and richness.'4 The evocative symbolism of the couple's loving embrace and the serene rhythm dictated by a sense of human scale, compose a universe of poetic images that echoes the timeless values of ancient Greek art. True to his Greek heritage and yet utilising a formal vocabulary informed by modern sensitivity, Moralis sought the realisation of a classical ideal, the discovery of a universal measure for logos and pathos. By focusing only on the essential, he expressed what is permanent and universal. 'In his fragmented and elliptical figures and in the wealth of his linear compositions and chromatic statements, he neither describes nor narrates but expresses and interprets the forces of creation.'51 D.N. Maronitis, 'The Gift of Vision' [in Greek], To Vima daily, 15.3.1992.2 O. Elytis, preface to the Moralis exhibition catalogue, Iolas-Zoumboulakis Galerie, Athens 1972.3 C. Christou, Moralis, Adam editions, Athens 1993, p. 33.4 K. Koutsomallis, 'The Painting of Yannis Moralis, a Tentative Approach' in Y. Moralis, Traces, exhibition catalogue, Museum of Contemporary Art - Basil and Elise Goulandris Foundation, Andros 2008, pp. 18-19, 30.5 Christou, Moralis, pp. 20, 33, 34.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 160
A Chinese Famille Verte cylindrical brush pot, Kangxi, painted on one side with a Daoist scholar on a mule, probably Zhang Guolao, and the other side with a scholar attended by acolytes, 12.9cm high x 9.8cm wide清康熙 五彩人物图笔筒Condition Report: two hair cracks one 12cm long and one 6cm long the edge of base with scale chip 3.5cm long x 1.9cm deepsurface wear commensurate with age firing cracks to baseCondition Report Disclaimer
Lot 163
A rare Chinese Export part dinner and tea service, Qianlong, circa 1755, each piece with the arms of the Taswell family, in bright enamels and gilding, comprising: sixteen octagonal dinner plates 23cm diameter; seven octagonal soup bowls, 23cm diameter; four small octagonal plates, 16cm; a large canted rectangular serving dish, 40.5cm diameter; another smaller, 29.5cm diameter; three smaller serving dishes, each approximately 25.5cm diameter; a soup tureen stand, 36.5cm diameter; a tea cannister and cover, 12.5cm high; a sugar bowl, 14cm diameter; two two-handled cups, a tea bowl, three saucers and a coffee cup (42) Provenance:By descent through the Taswell Family since 1755The Taswell family had been merchants in the City of London from Elizabethan times. The Reverend Dr William Taswell (1652-1731), who in 1666, had been page to the Dean of Westminster and witnessed the Great Fire of London and later wrote a vivid account of the event. This Chinese armorial service was made c.1755 for Dr Taswell's son, William Taswell (1708-1777), Rector of Wotton-under-Edge in Gloucestershire. In his will dated 3rd October, 1775, he specifies that "all such China in my possession as shall be found marked with my family's arms" was to go to his son George Taswell, at the time serving the East India Company in India as Colonel of 'The Madras Terribles'. A full copy of the Will can be seen in the National Archives at Kew, National Archives: PROB-11-1012-26 George in turn left "the whole of the China ware on which are the arms of the family" in his own will in 1814 to his surviving younger son George Morris Taswell (1784-1868). Such specific contemporary records of Chinese armorial porcelain are exceedingly rare. George Morris Taswell left Madras and settled in Kent with his new wife, Anne Gipps of a Canterbury family, who he married in 1813 in St Martins, Canterbury, where he was later buried in 1868. This substantial part of the Taswell armorial service is being sold by a direct descendant of George Morris Taswell and is on the market for the first time in its history. For the arms see David Sanctuary Howard, Chinese Armorial Porcelain, Vol. I, London, 1974, p. 362, M1.清乾隆 外销Taswell家族纹章瓷一组拍品来源：英国Taswell家族世藏Condition Report: sixteen octagonal dinner plates 23cm diameter of which two are good and six have small rim chips eight al all have minor wear and rubbing to gilding and seven plates all with long cracks seven octagonal soup bowls, 23cm diameter of which four are in good condition other than minor wear and two have rim chips and one has long crack and all have minor wear and rubbing to gildingfour small octagonal plates, 16cm all have rim chips and one has long cracklarge canted rectangular serving dish, 40.5cm diameter in good conditionanother smaller, 29.5cm diam with wear to enamels and gilding three smaller serving dishes, each approximately 15.5cm diam generally all good other than some wear to gilding and minor enamel lossa soup tureen stand, 36.5cm diam good other than scale chip to rim 1.2cm long x 7mm a tea cannister and cover, 12.5cm high the cover with chip mainly to underside and the rim of the cannister with 7mm x 4mm chip on unglazed area 1.8cm x 4mma sugar bowl, 14cm diameter with three hair cracks 6cm and two 4.5cm long two two-handles cups, both with cracks and chips; a tea bowl, badly damaged with pieces missing three saucers all badly damaged and repaired and a coffee cup with 4cm hair crack and 2 x 1cm hair cracksCondition Report Disclaimer
Lot 31
Collection of large scale Dolls House Kitchen furniture and Kitchenalia, circa 1890, including a tinplate stove/oven with twin burners and on claw feet, 9” (23cm) wide, cream painted kitchen furniture including dresser, (part of one door and glass loose) 15 ½” (39.5cm) tall, corner cupboard, hinged top sink with tinplate liner, table, hanging shelves, two chairs and folding chair/step ladder, cheese cupboard, brick effect heater, petroleum can, selection of china condiment containers, bowls, dishes, lead wall clock, selection of blue painted metal pots and pans, cutlery, kitchen utensils, tinplate bath and water heater with tap and shower (tap detached) and more, (lot).
Lot 34
Suite of Tarbena 1/12th scale Regency style painted wooden Dolls House furniture, Linen press with opening front to three shelves above drawer base, 5 7/8” (15cm) tall, side table with three drawers, chest of drawers, grill fronted cabinet, floor standing shelves, circular games table, bed side table and a four poster bed by Singing Tree, (8 items).
Lot 35
Suite of Tarbena 1/12th scale Georgian style wooden Dolls House furniture, Linen press with opening front with six sliding tray shelves above three drawer base with swan neck pediment, 7” (18cm) tall, Pedestal writing desk, chest of four drawers, Library steps, Dressing table, swivel mirror on drawer base and an octagonal pedestal table, (7 items).
Lot 36
Suite of Tarbena 1/12th scale wooden Dolls House furniture, Sideboard with shaped front and drawers on fine tapering legs, 2 ¾” (7cm) tall, circular pedestal table with painted decoration to edge, side table with tyre ends, side table with shelf below, circular table on three claw feet legs, and a highchair, (6 items).
Lot 37
Suite of 1/12th scale Dolls House furniture by Brian Underlay, Georgian Dining room table with claw feet, Sheraton style set of four chairs and two carvers all with cream upholstered seats, Regency tilt top circular table, three Balloon back upholstered chairs, Chaise Lounge, hall chair with shaped back, and a walking stick stand, all pieces signed, (14 items).
Lot 38
Selection of 1/12th scale Dolls House furniture by various makers, John Hodgson French style hand painted settee with cream upholstery, two chairs and a carver with pink and cream striped upholstery, Tarbena sofa, Wing chair and Lounge chair with Oriental print upholstery, Judith Dunger Oriental lacquered Bureau and folding screen, D.Booth Cradle and Chaise Lounge, Garden Path Wing chair with leather upholstery, Halls Ebony Long case clock, Keith Bougourd Small Time Globe on stand and wall clock, (15 items).
![Sanson (d'Abbeville)[Scotland] L'Escosse Royaume en ses deux Principales Parties qui sont Deca et Dela le Tay ...., Paris, Pi](https://cdn.globalauctionplatform.com/14475c71-50ce-4469-99eb-ae1400d34598/c04b8975-c7d2-4f5f-931a-ae99008bc80e/468x382.jpg)
Lot 2098
Sanson (d'Abbeville)[Scotland] L'Escosse Royaume en ses deux Principales Parties qui sont Deca et Dela le Tay ...., Paris, Pierre Mariette, 1665, hand-coloured map, French text, approx. 40cm x 51cm, mounted, framed and glazed.Minor ?ink line to right of scale, o/w no obvious defects. Frame and glass dusty. Not examined out of frame.
Lot 307
A pair of Edwardian silver candlesticks, the stepped square bases with scale motifs, supporting columns decorated with ribbon swags, with beaded removable sconces, bases weighted by Thomas Bradbury & Sons, London 1903, 14cm and another pair with faceted stems on circular bases (weighted) by William Adams Ltd, Birmingham 1951 (4) Condition Report:Available upon request
Lot 69
Concorde. A composite model of Concorde G-ABBA supplied by Airline Publications and Sales Ltd, Hounslow, Middlesex, with British Airways livery, 85cm long x 36.5cm wingspan, presented on a metal stand, together with die-cast model of Concorde G-BOAC by Historic, 1/200th scale, new in original packagingQTY: (2)
Lot 122
DATED BOW TEAPOT AND COVER CIRCA 1766 of globular form, the loop handle with a heart shaped terminal; painted with 'fancy birds' on a scale blue ground; underglaze blue crossed swords, the base inscribed in iron red and gilt 'Mr. S. G, 1766'; together with a CONTINENTAL WORCESTER STYLE TEA CADDY AND COVER with similar 'fancy birds' decoration, blue square mark(Teapot 14cm high; caddy 13cm high)
Lot 442
Two boxes of Toy Cars and vehicles including: Budgens Limited Edition Oxford Die Cast Milk Float, Royal Mail Millennium Collection Mercedes 207D Van and Model T Ford (Corgi) with period Royal Mail livery and Trackside (suitable for 00 scale model railway layout) Cement Lorry etc, mostly boxed. (24)
Lot 1052
A collection of vintage 20th century O.S (Ordnance Survey) British maps. The lot to include maps or varied areas and scales, some also mounted on cloth. Including Ordnance Survey On-inch map of Great Britain Torquay, scale one inch to one statute mile 1/63360, Ordnance Survey Oxford & surrounding area, scale 2cm to 1km, RAC South East, including maps of London, Brighton, Canterbury, Dover, Portsmouth, Folkestone, Windsor, scale 3 miles to 1 inch, and more.
Lot 60
A CORAL AND DIAMOND COCKTAIL RING, BY CARTIER, CIRCA 1955The oval-shaped corallium rubrum cabochon coral within an openwork mount of textured wire, highlighted with brilliant-cut diamonds, mounted in 18K gold and platinum, diamonds approximately 1.50ct total, signed Cartier Paris, numbered, with maker's mark 'P&Fils' for Péry & Fils, French assay marks, with maker's case, ring size KPlease note that this lot contains coral and might be subject to CITES regulations when exporting outside the EUMaison Péry was established in 1875 by Lucien Péry, whose elegant gold chains attracted the attention of the jewellers housed in the place Vendome. The company was run by four generations of Péry's, from Lucien’s son Albert to his grandson Bernard who was the father of the great Brigitte Péry who went on to manage the business for four decades.Albert's work at during the first half of the 20th century was prolific, producing new designs almost every week. However, when the WWII broke out, Albert was taken prisoner and the workshop was closed for six years. Once the conflict ended, the production started again slowly, increasing in the 1950s, during which time Péry created some of Van Cleef & Arpels’s most iconic pieces, including the Domino jewellery sets and Ludo bracelets.Bernard Péry began to make connections with other jewellery houses and started collaborations, first with Paolo Bulgari, which lasted for two decades, followed by Cartier, Boucheron, Mauboussin, Templier and Tiffany. Indeed, it seems there is no major jewellery house of the 20th century the Péry workshops did not produce for.Bernard’s daughter Brigitte was of similar business acumen and when she took over, she continued to pursue this strategy. Amongst her collaborators were Graff, Dior, Fabergé and Mikimoto. In 2008 she launched a large-scale training program for the workshops in order to promote innovation and modernise the production techniques of the company. Adopting new design processes ensured versatility and allowed Maison Péry to compete on an international stage. In 2011, she finally decided to sell her family's company to the then President of the Richemont Group, Stanislas de Quercize, thus officially combing Maison Péry into the fold of Van Cleef & Arpels.‘Jewellery always makes you dream,’ Brigitte explained in an interview with Olivier Bachet for IAJA, ‘To dream of those who wear them, what a pleasure and what a chance to be able to do so. And to dream of those who always make them with real passion.’Condition Report: Diamonds: approx. 1.50cts total, unable to assess colour due to yellow mount, estimated clarity: a majority of VS and a couple of SINumbered: (Difficult to identify the number): possibly: 0 (or 9) 18185 and signature Cartier Paris, located on the reverse of the galleryFrench assay marks: dog's head for French platinum and eagle's head for French 18K gold, both located on the outside of the hoopMaker's mark for Pery & Fils located on the outside of the hoopNormal signs of wear, overall in good conditionTotal gross weight approx. 18.5g
Lot 74090
A Tiffany & Co. Silver and Mixed Metal Water Pitcher, New York , circa 1880Marks: TIFFANY & CO., 4706 MAKERS 1932, STERLING SILVER, AND, OTHER METALS, 7348 x 8 x 6-1/2 inches (20.3 x 20.3 x 16.5 cm)992 grams (gross) The water pitcher of baluster form with hand-hammered surface, the Japanesque pond scene depicting an applied kingfisher perched on a gold bamboo reed, a copper and gold dragonfly, a copper and gold beetle, a jumping silver carp, and silver and copper irises.The Japanese-inspired works of the late 1870s and 1880s are often thought of the peak of Tiffany director Edward C. Moore's career. Bold and elegant, they captured critical and popular acclaim for their use of mixed metals and sensuous depictions of nature. Moore drew much of his inspiration for the decoration from his own extensive personal collection of Japanese art, now held at by Metropolitan Museum of Art. A similar example of this water pitcher form, designed by Moore himself, was part of Tiffany's landmark 1878 Paris Exposition display, where Japanesque Tiffany works debuted on the world stage. Tiffany plant records reveal that only several dozen of these pitchers were created, each with its own unique applied decoration. The current water pitcher is an excellent blend of the style's signature characteristics- the spot-hammered matte surface, the large scale decoration - and a few unexpected twists. The kingfisher is an especially standout element, perhaps inspired by a Japanese print in Moore's own collection. HID12701242017
Lot 119
Roman Imperial Coinage, Eugenius (392-394), Siliqua, Trier, d n evgeni-vs p f avg, pearl-diademed, draped and cuirassed bust right, rev. virtvs ro-manorvm, Roma seated left on cuirass [Ac], holding reversed spear and Victoriola on globe, tr ps in exergue, 1.92g/12h (Ghey 77, this coin; Hoxne 625; RIC IX p.33, 106(d); RSC 14+a). Hairline surface crack at 3 o’clock, otherwise nearly extremely fine, the reverse variety extremely rare £400–£500 --- The Hoxne Hoard contained 379 siliqua of Eugenius minted at Trier as described by RIC 106d. These were further divided by Guest into six subtypes on account of the variations in reverse design common throughout Trier’s second Virtus Romanorvm Series (Hoxne 624-32). Only a single coin of Eugenius with a reverse adhering to variety Ac was included within the Hoxne hoard, indicating that this particular variant was produced on a very limited scale. The Vale of Pewsey Hoard, despite its much smaller size, contains two such examples.
Lot 109
Omega. A stainless steel automatic calendar chronograph bracelet watchModel: Speedmaster 125Reference: 378.801Date: Circa 1980Movement: Jewelled automaticDial: Black, luminous baton hour markers, white outer minute and 1/5th second divisions with inner Arabic five minute markers, raised outer tachymetre scale, subsidiary dials at 6 and 9 for seconds, 24 hour indication and 12 hour recording, date aperture at 3, white pointed baton hands with luminous inserts, centre arrow tipped chronograph hand, secondary central hand for 60 minute recordingCase: Brushed tonneau form, screw down back, crown flanked by twin pushersStrap/Bracelet: Fitted brushed Omega 1221/212 linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 42mmFor further information on this lot please visit Bonhams.com
Lot 161
Yema. A stainless steel automatic chronograph wristwatchModel: SpeedgrafReference: Edition No.121/300Date: RecentMovement: Jewelled automaticDial: Black, applied polished baton hour markers with luminous inserts, white outer 1/5th second divisions, white outer tachymetre scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, polished baton hands with luminous inserts, red tipped centre chronograph handCase: Brushed and polished tonneau form, screw down back, bi-directional bezel with black insert, screw down crown flanked by twin pushersStrap/Bracelet: Black racing leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 39mm Accompaniments: Yema case, spare Yema strap For further information on this lot please visit Bonhams.com
Lot 178
Breitling. A stainless steel automatic calendar chronograph wristwatch with mother of pearl dialModel: ChronomatReference: B13356Date: Purchased 1st February 2006Movement: Jewelled automaticDial: Mother of pearl, gilt baton hour markers with luminous accents, black outer 1/5th second divisions, raised outer tachymeter scale, subsidiary dials at 6, 9 and 12 for seconds, 30 minute and 12 hour recording, date aperture at 3, gilt pointed baton hands with luminous inserts, centre chronograph handCase: Brushed and polished tonneau form, screw down back, crown flanked by twin buttons, uni-directional calibrated bezel with gilt quarter riders, No.2072283Strap/Bracelet: Brown Breitling crocodile leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 45mm Accompaniments: Breitling box, outer card, International Warranty, Chronometer Certificate, swing tag, instruction booklet This lot is subject to the following lot symbols: Y RY Subject to CITES regulations when exporting items outside of the EU, see clause 13.R This lot is subject to import restrictions when shipped to the United States.For further information on this lot please visit Bonhams.com
Lot 184
Doxa. A Limited Edition stainless steel automatic calendar chronograph wristwatchModel: Coppa Milano SanremoReference: CMS2003250Date: Purchased 9th April 2003Movement: 40-jewel Lemania Cal.283 automaticDial: Black, applied polished baton hour markers, white outer minute divisions with luminous dot 5 minute markers, raised outer tachymetre scale, subsidiary dials at 12, 9 and 6 for seconds, 30 minute and 12 hour recording, date aperture at 3, polished pointed baton hands with luminous inserts, red tipped centre chronograph hand Case: Brushed and polished round, screw down back, uni-directional calibrated bezel, screw down crown flanked by twin pushers, No.084/250Strap/Bracelet: Black Doxa leatherBuckle/Clasp: Signed steel buckleSigned: Case, dial & movementSize: 42mm Accompaniments: Doxa box (AF), Guarantee Certificate Footnotes:2003 saw the revival of the Coppa Milano-Sanremo event, a 4 day race of vintage cars in the Italian countryside. Doxa were chosen as official timekeepers and released 250 watches to mark the occasion.For further information on this lot please visit Bonhams.com
Lot 188
Breitling. A stainless steel automatic calendar chronograph bracelet watchModel: CrosswindReference: A13355Date: Purchased 12th July 2005Movement: Jewelled automaticDial: Sunburst blue, applied luminous filled polished baton hour markers, white outer 1/5th second divisions, raised outer tachymetre scale, subsidiary dials at 6, 9 and 12 for seconds, 30 minute and 12 hour recording, date aperture at 3, polished pointed baton hands with luminous inserts, centre chronograph handCase: Polished tonneau form, screw down back, uni-directional bezel, crown flanked by twin buttons, No.543572Strap/Bracelet: Fitted polished steel brick linkBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 43mm Accompaniments: Breitling Bakelite box, outer card, Breitling service case, International warranty, Chronometer Certificate, instructions for useFor further information on this lot please visit Bonhams.com
Lot 223
TAG Heuer. A stainless steel automatic calendar chronograph wristwatchModel: Jack Heuer CarreraReference: CV2119Date: Purchased 13th July 2012Movement: 37-jewel ETA Cal.17 automaticDial: Sunburst silvered, applied polished baton hour markers, black outer 1/5th second divisions, raised outer tachymetre scale, grey subsidiary dials at 3 and 9 for seconds and 30 minute recording, date aperture at 6, polished baton hands with luminous inserts, red centre chronograph handCase: Brushed and polished tonneau form, screw down back, crown flanked by twin pushers, No.EPW4253Strap/Bracelet: Black TAG Heuer racing leatherBuckle/Clasp: Signed steel folding claspSigned: Case, dial & movementSize: 41mm Accompaniments: TAG Heuer box, outer card, International Guarantee card, instructions For further information on this lot please visit Bonhams.com
Lot 233
Breitling. A stainless steel automatic calendar chronograph wristwatchModel: NavitimerReference: A13322Date: Circa 2000Movement: Jewelled automaticDial: Black, luminous Arabic numeral hour markers, outer 1/5th second, base and tachymetre markers, bi-directional inner slide rule scale, date aperture at 3, silvered subsidiary dials at 6, 9 and 12 for seconds, 30 minute and 12 hour recording, polished pointed baton hands with luminous inserts, centre red arrow tipped chronograph handCase: Polished round, screw down back, crown flanked by twin pushers, No.458815Strap/Bracelet: Black leatherBuckle/Clasp: Signed folding claspSigned: Case, dial & movementSize: 42mmFor further information on this lot please visit Bonhams.com
Lot 62
Breguet. A recently serviced stainless steel manual wind flyback chronograph wristwatchReference: 976Date: Circa 1960Movement: Jewelled Valjoux Cal.225 manual windDial: Silvered, applied gilt dart hour markers, black outer minute divisions and blue tachymetre scale, subsidiary dials at 3, 6 and 9 for seconds, 15 minute and 12 hour recording, gilt pointed baton hands, blued steel centre chronograph handCase: Polished round, snap on back, crown flanked by twin chronograph buttonsStrap/Bracelet: Black Breguet alligator leatherBuckle/Clasp: Steel buckleSigned: DialSize: 38mmFootnotes:The current lot is fitted with a Valjoux Calibre 225 which has both the classic column wheel control function and the addition of a flyback feature, allowing for instantaneous return to zero while the chronograph functions.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the EU, see clause 13.For further information on this lot please visit Bonhams.com
Lot 63
Baume & Mercier. An 18K gold manual wind chronograph wristwatchDate: Circa 1940Movement: 17-jewel manual windDial: Champagne, alternating gilt dot and Arabic numeral hour markers, black outer 1/5th second divisions and blue tachymetre scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, gilt baton hands, red centre chronograph handCase: Brushed and polished round, snap on back, crown flanked by twin chronograph pushersStrap/Bracelet: Associated brown leatherBuckle/Clasp: Gilt buckleSigned: Case & dialSize: 35mmFor further information on this lot please visit Bonhams.com
Lot 69
Rolex. A rare stainless steel manual wind bracelet watch offered on behalf of the original ownerModel: Anti-Magnetic Oyster Chronograph 'Pre-Daytona'Reference: 6234Date: Circa 1960Movement: 17-jewel Valjoux Cal.72 manual wind, column wheel chronographDial: Silvered, applied polished dart hour markers, black outer 1/5th second divisions with luminous dot 5 minute markers, blue outer telemeter scale, black outer base scale, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, polished dagger hands with luminous inserts, red tipped centre chronograph handCase: Brushed and polished tonneau form, screw down crown flanked by twin pushers, personal engraving to back, No.530239Strap/Bracelet: Fitted brushed 78350 Oyster linkBuckle/Clasp: Signed folding clasp, stamped S 1Signed: Case, dial & movementSize: 36mm Accompaniments: Rolex pouch Footnotes:Offered between 1955 and 1960, the reference 6234 was one of the forerunners of the Daytona collection and as such is known by the nickname 'Pre-Daytona'. With such a short period of production the 6234 is a highly prized watch with limited availability. It is believed that approximately only 2300 examples were released in steel and naturally far less in gold. In 1960 Rolex replaced the 6234 with the 6238 which also shares the nickname of 'Pre-Daytona'.The present lot is offered for sale by the original owner who purchased the piece in 1964 whilst in the Royal Air Force in Singapore. At the young age of just 20, the owner bought the watch through NAFFI on HPI. A keen sailor, the owner was drawn to the watch by the practical nature of the 3 minute markers to the subsidiary dial at 3 o clock - when racing this was ideal for counting down after the three minute warning gun was fired. The owner went on to have a long career within the RAF spanning 25 years before establishing his own business dealing in reclaimed building materials.The watch was serviced by Hertfordshire Horologists (Tring) in 2017 and 2022 and is accompanied by the service guarantee cards.For further information on this lot please visit Bonhams.com
Lot 98
Breitling. An unusual stainless steel manual wind chronograph wristwatchModel: RefereeReference: 34-31Date: Circa 1973Movement: 17-jewel Valjoux Cal.7731 manual windDial: Black, luminous dot hour markers with Arabic 12 and 3, white outer minute divisions with 5 minute markers, red outer scale for 45 minute recording, subsidiary dial at 9 for seconds, aperture at 6 for showing full circle and small circle start-stop and return to zero function of the chronograph, white pointed baton hands with luminous inserts, cubist centre chronograph handCase: Brushed and polished tonneau form, snap on back, bi-directional calibrated bezel, crown flanked by twin chronograph pushers, No.1411075Strap/Bracelet: Black Breitling leatherBuckle/Clasp: Associated steel buckleSigned: Case, dial & movementSize: 40mm Accompaniments: Spare black leather strapFootnotes:This unusual chronograph was designed to be used by football referees with a scale for timing the 45-minute halves included on the dial. The reference 34-31 also features the 'Slow Chronograph' complication, when activating the chronograph the only visible action is in the aperture at 6. When the chronograph is running, there will be a large circle of lume; when paused, the display will show a small circle of lume; and when inactive, the aperture is empty.For further information on this lot please visit Bonhams.com
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