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Lot 1441
Three boxed Airfix HO / OO scale plastic model kits to include 2 x The Battle Of Waterloo Assault Sets (1 x contents appearing complete containing 12 x boxed figures sets featuring Waterloo French Cavalry, 4 x Waterloo Prussian Infantry, 2 x Prussian Infantry 1815, Waterloo British Infantry, Waterloo French Infantry, French Cavalry 1815, British Infantry 1815 and French Infantry 1815 and 1 x containing 5 x figure sets to include 3 x Waterloo British Artillery and 2 x Waterloo French Artillery and Battle Of Waterloo Farmhouse) and 1 x Waterloo Wargame with contents appearing complete to include game pieces, green game mat and complete sticker sheet, etc, boxes in gd overall condition with some squashing and warping in places and signs of light edge wear, contents all appearing vg
Lot 1460A
Large quantity of boxed and unboxed Airfix plastic figures and various sets to include 6 x HO / OO scale figure sets featuring American Indians, Foreign Legion, American Cowboys, American Civil War Confederate Infantry, American Indians and US Cavalry, HO / OO scale Battle Of Waterloo Farm House and a large quantity of loose HO / OO scale plastic figures from various figures sets
Lot 1541
Collection of 31 1980s onwards action figures to include 5 x Teenage Mutant Ninja Turtles TMNT to include Leonardo, Michelangelo, Donatello, Raphael and Bebop), 5 x LJN Thundercats featuring Lion-O, Mun-Ra, Ratar-O, Snarf and Pantho, 5 x MASK figures to include Brad Turner with Hocus Pocus helmet, Matt Tracker with helmet, Hondo MacLean, Miles Mayhem and Matt Tracker with helmet, 1 x Rambo figure, 5 x The A-Team figures to include Mr T, Face, Murdock, Hannibal and Mr T 3/4 scale, 6 x Kelloggs Sporting Heroes featuring Ian Botham, Gary Lineker x 2, Frank Bruno, Dennis Taylor and Eric Bristow, 2 x American Gladiators with fighting podiums, all figures vg overall condition
Lot 270
35 Boxed 1/72 scale plastic model kits to include Revell 05691 Level 5 Hurricane Mk.1, Tamiya 60756 Supermarine Spitfire Mk.Vb, Tamiya 60748 Supermarine Spitfire Mk.I, Academy Hobby Model Kits 12496 and 12484, Italeri 001 Spitfire Mk.Vb, 12 x Forces Of Valor UK Spitfire Mk IX No. 64 Squadron, etc, all appearing complete and unbuilt (3 Boxes)
Lot 272
20 Boxed Dragon plastic model kits of various scale to include military planes, ships and vehicles featuring 3520 1/35 SS-1C Scud B w/MAZ 543 TEL, 9037 1/35 Firefly Hybrid Hull, 3540 1/35 UH-1N Gunship, 7035 1/700 USS Mobile Bay, 3530 1/35 UN BTB-70 w/ Ukrainian Peacekeepers etc, all unbuilt and complete
Lot 280
26 boxed and unbuilt plastic model kits to include 1/48 scale, 1/35 scale and 1/72 scale, featuring 15 x Hobby Boss model kits to include 80377, 81705, 81745, 83206, 2 x 80180, 80363, 81709, 80361, 80207, 87260, 87226, 81763, 83888 and 87222 and 11 x boxed Zvezda model kits to include 7227, 4803, 7322, 4823, 7321, 3608, 7217, 636, 7307, 7297 and 4821, all appearing complete and ex (3 Boxes)
Lot 282
24 Boxed Tamiya military miniatures figure and accessory sets featuring 1/48, 1/35 and 1/16 scale to include 1/35 337 British Paratroopers w/small motorcycle, 1/48 26 WWII British Infantry Set, 1/35 ltd edn US Modern Elite Infantry w/accessory set, 1/35 300 Famous Generals etc, all unbuilt and appearing complete
Lot 283
Collection of 13 1/24, 1/35 and 1/72 scale boxed plastic model kits to include Airfix 155mm Howitzer, Airfix Short Stirling BI/III, Airfix Dodge Personnel Carrier, Airfix 15-CWT Truck and 6 PDR Gun, Hobby Model Kits F4U-1 Corsair, Tamiya De Havilland Mosquito, Italeri Willys Jeep, etc, all appearing complete
Lot 295
Three boxed Tamiya plastic model kits to include 1/10 scale Subaru WRX STI NBR Challenge TT-02 Chassis Shaft Driven 4WD, 1/20 scale Mclaren Mercedes MP4/13 and 1/20 scale Ferrari F60, all unbuilt and appearing complete, with instructions in original packaging, contents ex, boxes gd-vg overall with signs of storage wear
Lot 297
Collection of 18 boxed plastic model kits to include mainly 1/72 and 1/48 scale models featuring 9 x Hasegawa Hobby Kits (04108 F-4G Phantom II 'Wild Weasel', 07017 McDonnell Douglas British Phantom FG Mk.1, 07026 F-18C Hornet, Sepecat Jaguar 802, 51365 Mustang Mk.III Malcolm Hood, 00009 P-51D Mustang, etc), Italeri No.170 Navy-Phantom F-4S, 3 x Revell kits featuring 2 x 04113 Spad XIII C-1 and 04107 Messerschmitt Bf109 G-10, etc, all unbuilt and appearing complete and ex
Lot 346
Collection of radio controlled models to include Tamiya 1/10 scale The Hornet (part-built and appearing complete, but unchecked) with box and inner packaging, Tamiya 1/14 scale Clod Buster Monster Truck (Built and all appearing complete) and boxed FA Series Sky Bomber 14X, etc, all models in vg condition overall, together with a boxed Acoms Digital Proportional Radio Control System Techniplus (5)
Lot 377
Collection of 80s onwards toys and games to include Peyo / Schleich Smurfs figures, original Palitoy Action Man with accessories and clothing, boxed TMNT Teenage Mutant Ninja Turtles Turtle Trooper, quantity of diecast models to include boxed Saico TR3A, boxed Matchbox MB38 Ford Model A, etc, quantity of Hot Wheels track, boxed 1/24 scale High-Tech Model Triumph TR3, boxed Matchbox Rough Riders 4x4 Impossibles, etc (2 Boxes)
Lot 651
One pair of handmade curtains in Lewis & Wood ‘Bruno’ design - the heavy linen blend fabric with large scale duck egg blue/grey print on cream ground, handmade, inverted pleat heading, interlined and lined in cream cotton sateen, 300cmW x 160cmH. * Face fabric very good condition overall. No visible sun fade to leading edges, some discolouration to lining. Professionally dry cleaned Aug 2023
Lot 403
Two handcoloured engraved maps: N. Visscher (1618-1709): 'Magnae Brittanniae' (1695) and Homann heirs (1730-1848): 'Americae mappa generalis' (1746)Work: 55,5 x 46,5 cm ('Brittaniae') Frame: 76 x 66 cm Map of the British Isles,which pays tribute to William III, with full immense decorative title cartouche, second cartouche with 3 coats of arms and scale of miles with two cherubs. Work: 54 x 47 cm ('Americae') Frame: 77 x 63 cm Homanns' second map of America, which reflects the substantial new information obtained since the issuance of the first map of America by the patriarch of the Homann Family, Johann Baptiste Homann. The decorative cartouche includes some very lively visual imagery, including volcanos and a nice allegorical scene representing the people, flora and fauna of America. The interior of North America benefits from the knowledge obtained by the Jesuits in the Interior parts of North America, especially along the Mississippi River and English and Dutch information along the coast. The French are still the dominant force in the North, the Spanish in the South, immediately prior to the French and Indian War. The Great Lakes are only just now being accurately charted by D'Anville and later Mitchell. The west coast conforms to the French updates provided by De L'Isle and progeny. South America is substantially corrected from earlier models. The NW Coast of America and NW Passage are still unknown, but wishfully shown. Quivira is shown considerably east of its normal location. Quivira was the the legendary land of gold and silver. Francisco de Coronado began his search for Quivira in 1541, but found only Indian Villages. He did however report to the Spanish King that the land was suitable for growing all of the products of Spain. Quivira migrated progressively further North and East, until it disappeared in the late 18th Century. The map seems to be influenced primarily by the highly influential map of America by De L'Isle first issued in 1700, although the Haas retains some of the great mythical cartographic features in the interior regions. The map was likely bound into Homann's Atlas Scholasticus, one of the most popular and widely distributed atlases of the second half of the 18th century, which continued to be issued with periodic changes to the maps for over 50 years. Printed in Nuremberg, 1746. Ref.: -Lowery Collection 383. - Wagner 1746.
Lot 24
Dame Barbara Hepworth (British, 1903-1975)Maquette for Walk-In signed and numbered 'Barbara Hepworth 12/12' (on the base)bronze with a green and part-polished patina24.7 cm. (9 3/4 in.) highConceived in 1970 and cast by Morris Singer in 1971BH 514Footnotes:ProvenanceWith Gimpel Fils, London, February 1972, where acquired by the present ownerPrivate Collection, South AfricaExhibitedWest Bretton, Yorkshire Sculpture Park, Barbara Hepworth: Centenary, 17 May-14 September 2003 (unnumbered, another cast)Wakefield, The Hepworth Wakefield, Barbara Hepworth: Art and Life, 21 May 2021-27 February 2022 (unnumbered, another cast); this exhibition travelled to Edinburgh, National Galleries Scotland, 9 April 2022-2 October 2022, St Ives, Tate, 26 November 2022-1 May 2023 Literature Sophie Bowness (ed.), Barbara Hepworth, The Plasters: The Gift to Wakefield, Lund Humphries in association with The Hepworth Wakefield, Farnham, 2011, pp.57 & 154The last two decades of Hepworth's life were marked by ill health and heartbreak. The death of her eldest son Paul and the ending of her second marriage to the artist Ben Nicholson, were exacerbated by a diagnosis of tongue cancer, a broken leg, and an increasingly aging body. And yet, in spite of all this she continued to develop her work in more and more innovative ways, incorporating new methods and materials. She went as far as to say in 1970 (the year that the present work Maquette for Walk-In was conceived) in an interview with her son-in-law Alan Bowness that 'even breaking my leg in 1967 was a good thing because it made me extend my arms as far as I could', shedding light on the sculptor's urge to create and innovate in the face of hardship (in 'Alan Bowness: Conversations with Barbara Hepworth', included in The Complete Sculpture of Barbara Hepworth, 1960-69, Alan Bowness (ed.), Lund Humphries, London, 1971, p.14).Hepworth first began working with bronze in 1956. After initially believing that the material was at odds with her practice, and her search for 'truth in material', she soon became enamoured with the possibilities that bronze provided. As a carver first and foremost, the discovery of a way in which to bring together carving and casting in her work saw a distinct shift in her practice. Not only was she able to explore a more monumental scale, but it also meant that she was able to increase her output in response to demand for her work, through the production of multiples. But working in bronze meant collaborating with foundries. Over the course of her career, Hepworth worked with four different foundries to produce her sculptures, but it was Morris Singer who she would choose to work exclusively with from 1963 until her death in 1975. She established a very close working relationship with the foundry and its manager, Eric Gibbard, which became fundamental to the success of her bronzes and the casting process.The art historian and close friend of Hepworth, Abraham Hammacher, noted of the artist's later works, particularly those conceived in the last seven years of her life, that it was 'the tension in the form; the structures; the verticality which remained dominant...; the vigour in the stacking of elements; the ever-varying, constantly renewed experience of piercing volume, with the piercing itself more than anything the hallmark of her spatial sense and sensations; the resumption of group compositions after a long interval; the dual character of her surfaces, firstly as the enclosing element of three-dimensional spatial forms and secondly as 'surface as such', accentuated in some manner (linear inscription, 'scratches', low relief, colour)'. (Abraham Marie Hammacher, Barbara Hepworth, Thames and Hudson, London, 1998, pp.195-6) The present work, Maquette for Walk-In, was conceived in 1970 after the monumental sculpture Three Obliques (Walk-In), arguably one of Hepworth's most impressive works in bronze. The sculpture is made up of three pierced and interconnecting monoliths, reminiscent of the standing stone monuments that Hepworth was familiar with, such as Avebury and Stonehenge, as well as those closer to home in Cornwall, perhaps Mên-an-Tol (meaning 'holed stone' in Cornish), located to the south of St Ives. Of her later sculptures, Hepworth observed that she envisaged them as 'objects which rise out of the land or the sea, mysteriously' (in 'Alan Bowness: Conversations with Barbara Hepworth', included in The Complete Sculpture of Barbara Hepworth, 1960-69, Alan Bowness (ed.), Lund Humphries, London, 1971, p.14). The circular piercing in each block contributes to the expansion of space within the work, revealing new perspectives, and inviting the viewer to participate directly with the sculpture. Hepworth increasingly found in her work that it was impossible to have one without the other; to think of the landscape without also thinking 'about the human figure and human spirit inhabiting the landscape. For me, the whole art of sculpture is the fusion of these two elements' (Barbara Hepworth in her essay 'A Sculptor's Landscape', included in Barbara Hepworth: Drawing from a Sculptor's Landscape, Cory, Adams and Mackay, London, 1966, p.10). Even the title of this work implies an invitation to the viewer to 'walk-in' to the work, to experience its totality, which whilst literally true of the monumental cast of the work, also rings true for the maquette. Moving around the sculpture, moving closer and further away, the viewer is afforded glimpses of the work in new configurations and observations. As the decades progressed, Hepworth became more explicit about the way in which she sought to encourage physical engagement between the viewer and the sculpture. She noted in 1968, that 'there's no fixed point for a sculpture, there's no fixed point at which you can see it, there's no fixed point of light in which you can experience it, because it's ever-changing and it's a sensation which cannot be replaced by words or colour or anything else at all, and your view of approaching a sculpture is totally different from a view where you walk backwards' (Barbara Hepworth in conversation with Edwin Mullins, included in Barbara Hepworth: Writings and Conversations, Sophie Bowness (ed.), Tate Publishing, London, 2015, p.213). And yet, Hepworth often used colour to emphasise the contract between spaces, interior and exterior, and to highlight the texture of the form as is visible here. The blue-green patina of the wide, expansive surfaces of Maquette for Walk-In is complimented by the caramel-golds of the polished edges, which peek through the pierced forms as the viewer moves around the sculpture, taking it in from every angle, as the artist suggests. Indeed, the benefit of her table-top works as opposed to the monumental 'walk-through' sculptures, is that these allow the viewer to take in the work all at once, to experience the form in its totality.We are grateful to Dr Sophie Bowness for her assistance in cataloguing this lot.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com
Lot 59
Christopher Richard Wynne Nevinson A.R.A. (British, 1889-1946)The Mill-Pond signed 'C.R.W. NEVINSON' (lower right)oil on canvas71.1 x 91.4 cm. (28 x 36 in.)Painted circa 1919Footnotes:ProvenanceRobert Younger, Baron Blanesburgh, G.B.E., P.C. (1861-1946), by 1920Acquired by the family of the present owner in the 1970s and thence by descentPrivate Collection, U.K.ExhibitedLondon, The Leicester Galleries, New Works by C.R.W Nevinson, October-November 1919, cat.no.20Manchester, City of Manchester Art Gallery, Nevinson, July-August 1920, cat.no.2London, The Leicester Galleries, Memorial Exhibition of Pictures by C.R.W. Nevinson, A.R.A., May-June 1947, cat.no.18LiteratureMalcolm C. Salaman, 'The Art of C.R.W. Nevinson', The Studio, Vol.78, No.321, December 1919, pp.95-101'C.R.W. Nevinson's Work at the Leicester Galleries', The Ploughshare, November 1919, cat.no.20 (ill.b&w)Christopher Richard Wynne Nevinson, 'Reminiscences', The Studio, Vol.124, No.597, December 1942, p.197 (ill.)David Peters Corbett, The Modernity of English Art, 1914-30, Manchester University Press, Manchester, 1997, pl.33 (ill.,b&w)In the aftermath of the First World War, C.R.W. Nevinson wrote that 'the immediate need of the art of today is a Cézanne, a reactionary, to lead art back to the academic traditions of the old masters, and save contemporary art from abstraction' (Malcom C. Salaman, The Art of C.R.W. Nevinson, The Studio, December 1919). This is a major departure from Nevinson's pre-war attitude. In 1914 he had emphatically sided with modernity in a Futurist manifesto co-authored with Marinetti, the leader of a movement that defined itself by the desire for an unrelenting break from the past. But in the context of the present work, first shown in 1919 in Nevinson's 'Peace Exhibition', the quote is enlightening from a number of perspectives. The Mill-Pond is certainly Cézanne-esque. The slanting brushwork instantly recalls the French master, shimmering in patches juxtaposed by colour and angle. When compared to Cézanne's Lac d'Annecy (1896, The Courtauld), one sees the similarity in palette, and the style of the trees as they line the right bank of the pond, creating a stage-curtain framing the scene at an angle typical of Cézanne's unorthodox eye for space. More prominent in both works, though, are the flat-coloured houses viewed from across the pond, their reflections dancing back across the water surface towards the easel, emboldened by pronounced black outlines leading the way. The smaller, closer scale of The Mill-Pond allows Nevinson to explore in greater detail certain features that enhance the textural variety of the work, such as the duller, matt lily-pads contrasted serenely against the glistening water surface, and the grassy reeds leaning against the brushwork of the sky.The stylistic range of Nevinson's 'Peace Exhibition' was noted by critics at the time, seen by some as a sign of indecisiveness, and The Mill-Pond is undoubtedly in contrast with some of his more radical works. A century on, however, many would agree wholeheartedly with his refusal 'to use the same technical method to express such contradictory forms as a rock and a woman' (David Peters Corbett, The Modernity of English Art, 1914-30, Manchester University Press, Manchester, 1997, p. 151). As mentioned, this pragmatism was not on show during the early 1910s, at the height of his Futurist engagement. But the Great War would gradually bring a powerful wave of nostalgia over the British imagination for a time (largely fantasised) before Modernism had facilitated the horrors of those four years, and this inevitably brought into question the more dogmatic Futurist ideas. In light of this, the opening quote fits rather more neatly than it may at first seem. Returning to a closer inspiration from the source meant stripping back a few layers of radical Modernism, inching closer to the initial break from Academic traditions, albeit in reverse. As Nevinson took a contemplative step back for some of the works on display at the 'Peace Exhibition', he allowed a more direct influence from Cézanne to come through. In doing so, he captured the calm rurality for which many at the time longed, preserving for us a unique point in our collective emotional state, one at least temporarily untouched by the dizzying drive towards modernity.We are grateful to Christopher Martin for his assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Lot 5
Keith Vaughan (British, 1912-1977)Boy with an Apple signed and dated 'Keith Vaughan/45' (lower right), titled and dated again 'Boy with an Apple 1945' (on a label attached to the backboard)gouache, oil pastel, pen and ink21.9 x 14.4 cm. (8 1/4 x 5 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, LondonDr. Rodney Long, 1969Sale; Sotheby's, London, 10 October 1990, lot 147With Mercury Gallery, London, 22 January 1991, where acquired byPrivate Collection, IsraelTheir Sale; Bonhams, London, 29 May 2013, lot 61, where acquired byPrivate Collection, U.K.The underlying pen and ink drawing of Boy with an Apple was made in 1945. Passages of blank paper are visible through the mesh of inky lines. Vaughan reworked the drawing in the 1960s, along with many other examples of his wartime work. This involved tightening up the original drawing and obliterating passages which he subsequently considered superfluous. Whenever he encountered difficulties with his large-scale oil paintings or underwent what he called a 'fallow period', he would return to old pencil drawings and pen and ink studies to revise them in this way. More often than not, this involved making additions to the original drawing with gouache and obliterating unsatisfactory details with oil pastels, which he had discovered on a teaching visit to America in 1959. In the present work, sensitive white gouache embellishments are applied in hatchings over the under drawing. These define the boy's anatomical forms, while the dark, inky background has been added to emphasise and push the figure forwards. Similarly, the passage of green oil pastel, is also a late addition which assists in defining the lower body of the figure while also suggesting, perhaps, a grassy field. We are grateful to Gerard Hastings for compiling this catalogue entry.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 60
Vacheron Constantin. A fine and rare platinum manual wind chronograph wristwatch with sigma dialModel: Les Historiques ChronographReference: 47101Date: Circa 1990Movement: 21-jewel Cal.1140 manual wind, column wheel chronograph, No.770320Dial: Silvered applied white gold baton hour markers with Arabic numeral 12 and 6, black outer 1/5th second divisions and tachymetre scale, subsidiary dials at 3 and 9 for seconds and 30 minute recording, white gold baton hands with black inserts, black centre chronograph handCase: Polished round, snap on exhibition back, tear-drop lugs, No.631763Strap/Bracelet: Associated black alligator leatherBuckle/Clasp: Signed platinum buckleSigned: Case, dial & movementSize: 36mmFootnotes:The reference 47101 was launched by Vacheron Constantin in 1989 as part of the celebrated Les Historiques Collection. The reference is classically inspired - featuring a two-register silvered dial and tear-drop lugs. The majority of 47101 were cased in yellow gold with only very few offered in platinum, making the present lot a rare opportunity to acquire a true collectors piece.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 29
Rolex. An exceptionally fine and rare 18K white gold diamond and sapphire set automatic chronograph wristwatchModel: Cosmograph DaytonaReference: 16599SADate: Circa 1999Movement: 31-jewel Cal.4030 automatic, adjusted to temperature and 5 positions, No.186889Dial: Pave diamond set, applied sapphire set hour markers with Arabic numeral quarters, subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, polished baton hands with black inserts, centre chronograph handCase: Brushed and polished tonneau form, screw down back, crown flanked with twin screw down chronograph pushers, bezel set with 36 baguette cut sapphires, diamond set end links, No.A659982Strap/Bracelet: Blue Rolex crocodile leatherBuckle/Clasp: Signed 18K white gold folding claspSigned: Case, dial & movementSize: 39mmFootnotes:One of the most desirable watches today, the Daytona was released in 1963 as a tool watch for racing drivers. With its sub dials and tachymeter scale to the bezel, it allows average speed to be calculated in-race. The Daytona 16599SA is one of the gem-set examples. A playful mix of utility and beauty, this model was released in the 1990s. The first group of Daytona models to feature gems appeared in the 1980s and we have seen further variations over the last three decades.This lot is subject to the following lot symbols: YY Subject to CITES regulations when exporting items outside of the UK, see clause 13.For further information on this lot please visit Bonhams.com
Lot 31
Rolex. A stainless steel automatic flyback regatta chronograph bracelet watchModel: Yacht-Master IIReference: 116680Date: Purchased 8th December 2017Movement: 42-jewel Cal.4161 automatic, adjusted to 5 positions and temperature, column wheel chronograph, No.61J338A2Dial: White, applied luminous square hour markers, black outer minute divisions, inner regatta scale, blue edged subsidiary seconds at 6, polished pointed baton hands with luminous inserts, centre chronograph hand, red arrow tipped regatta handCase: Brushed and polished tonneau form, screw down back, crown flanked by twin chronograph buttons, blue calibrated bezel, No.P9579926Strap/Bracelet: Brushed and polished Oyster linkBuckle/Clasp: Signed folding clasp, stamped 1TASigned: Case, dial & movementSize: 44mm Accompaniments: Rolex box, outer card, guarantee card, original purchase receipt, anchor swing tag, brochureFootnotes:Launched in 2007, the Yacht-Master II is another notable tool watch from Rolex. Designed with professional sailors in mind, the model features a flyback chronograph and programmable regatta timer.For further information on this lot please visit Bonhams.com
Lot 45
Rolex. A fine and exceptionally rare 18K gold manual wind chronograph bracelet watch with ghost showing of a 'Khanjar' dialModel: Cosmograph DaytonaReference: 6263 between the lugs, 6264 inside case backDate: Circa 1973Movement: 17-jewel Valjoux Cal.727 manual wind, adjusted to 3 positions, column wheel chronographDial: Black, removed Khanjar emblem below 12, applied gilt baton markers, gilt outer 1/5th second divisions with luminous dot 5 minute markers, champagne subsidiary dials at 3, 6 and 9 for seconds, 30 minute and 12 hour recording, gilt baton hands with luminous inserts, centre chronograph handCase: Polished tonneau form, screw down back, crown flanked by twin screw down pushers, fixed bezel with black tachymetre scale, No.3231129Strap/Bracelet: Polished Oyster linkBuckle/Clasp: Signed folding clasp, stamped 4 72Signed: Case, dial & movementSize: 37mmFootnotes:The current Daytona is one of the rarest Rolex watches to appear on the market. Possibly unique in its original configuration, this example of an 18K gold 6263/6264 with gold subsidiaries and sublime highlight gilt minute track and lettering on a matte black dial is truly striking. The words 'Rolex Oyster' were printed in a higher position than normal to allow the premium space on the dial for the Khanjar symbol and the Cosmograph moved to above the minute track.These watches were specially commissioned from Rolex by the Sultanate of Oman and usually supplied through Asprey. The ghost of the Khanjar is just visible having been removed by a reseller 'Jawahir Oman' when it was sold in 1979. The gold versions were traditionally personally gifted by His Majesty Qaboos bin Said Al Said himself for outstanding service to the crown.For further information on this lot please visit Bonhams.com
Lot 65
Heuer. A fine and rare 18K gold automatic calendar chronograph bracelet watch formerly the property of Terence Regan offered on behalf of the family of the original ownerModel: CarreraReference: 1158 CHDate: Circa 1973Movement: 17-jewel Cal.12 automaticDial: Brushed champagne, applied gilt baton hour markers with black accents, black outer 1/5th second divisions, raised outer tachymetre scale, black subsidiary dials at 3 and 9 for 30 minute and 12 hour recording, date aperture at 6, gilt baton hands with black accents and luminous inserts, black centre chronograph handCase: Brushed and polished tonneau form, screw down back, crown at 9, twin fluted chronograph pushers at 2 and 4, No.249349 Strap/Bracelet: Fitted woven Gay Freres linkBuckle/Clasp: Signed 18K gold folding claspSigned: Case, dial & movementSize: 38mm Accompaniments: Heuer box, Guarantee, service invoice dated 2000, correspondence with TAG Heuer regarding 2000 service Footnotes:The 1158 CH Carrera is an iconic reference within the world of watch collecting where it is also known as the 'Montre de Pilote' or 'Driver's Watch'. Less than 500 pieces are thought to have been produced in the early 1970s. The watch is also noted as being Jack Heuers favourite model.Terrence Regan was a lifelong close friend of John Surtees and worked for Team Surtees during the 1970's as sponsorship manager, attending most of the F1 races with the team. In 1973 he was presented with the current watch by Jack Heuer who also arranged for it to be fitted with the gold Gay Freres strap. The watch was one of six ordered by Jack Heuer for the team which included John Surtees, Ronnie Peterson, Alan Jones, Terence Regan, Clay Regazzoni, Mike Hailwood. Terrence Regan wore the watch throughout his time in the F1 team and in the years that followed and loved the association with his favourite drivers.For further information on this lot please visit Bonhams.com
Lot 18
Registration No: 6069 RW Chassis No: 206E/311835 MOT: August 2024Rare Farnham estate conversion on the top-of-the-range Zodiac modelThe subject of recent works including an interior re-trim, full engine overhaul and radiator recoreSolid, on the road example that would prove a rewarding project after some cosmetic attentionThe Zodiac name was first seen on a Ford at the 1953 Earls Court Motor Show. From day one it denoted the top of the range model – above its siblings, the Consul and Zephyr. The trio were completely restyled in 1956 with a transatlantic influence to suit changing tastes away from the drab taste of 1950s Britain, with tail fins and two-tone paint schemes being the order of the day. The newcomers were quite a bit larger than their predecessors and with bench seats front and rear, would comfortably seat up to six adults. The six cylinder in-line engines of the range were increased in capacity to 2553cc to give an output of 86bhp. This was sufficient to allow a top speed of almost 90mph – lively performance for the period. The engine was either paired with a three-speed, column-change manual gearbox (for which overdrive was an option) or a Borg Warner automatic unit. Suspension was independent at the front with MacPherson struts and coil springs and a live axle at the rear suspended on semi-elliptic leaf springs. Braking was initially by drums all round, but front discs became optional in 1960 and standard in 1961. The rising demand for an estate car was fulfilled by the coachbuilder, ED Abbott Limited of Farnham, Surrey who created attractive small scale versions of the grand station wagons from across the pond using an unfinished saloon supplied direct from Ford and were the most expensive Ford available at the time. Relatively few of these grand estates have survived due to having a harder life than their saloon siblings and good examples are now highly prized.Understood to have been supplied as a top-of-the range Farnham Estate conversion of a MkII Zodiac fitted with overdrive, '6069 RW' was first registered in the UK in 1961 in the Coventry area and pleasingly retains its original registration number. Little is known of the early history of the car, however, this rare survivor was purchased by a previous owner through auction after a lengthy period of lay-up with extensive recommissioning needed and in a rather sorry cosmetic state. The vendor purchased the car in 2020 and it was noted that much of this work had been completed, including welding of the sills, underside, front and rear valances and door bottoms. Mechanically however, it was noted that further remedial work was required and the vendor set about a complete overhaul of the six-cylinder power unit and a radiator recore.The vendor is well versed in the maintenance of classic vehicles and has kept on top of this himself and has regularly used the car for shows. Now, the car is in a solid state with all structural issues taken care of, however according to the vendor "does require further cosmetic attention" to the paint and bodywork. When the vendor bought the car, the original leather work had nearly disintegrated fully and the vendor made the decision to re-trim the seats, dashtop and door cards in Beige leather which provides a very pleasant experience to any driver or passenger. If you are looking for one of these rare, transatlantic-styled estates and like to tinker, this presents an opportunity for a rewarding project that can be enjoyed thanks to the hard work being done. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Lot 114
dating: Late 19th Century provenance: Kingdom of Italy, Semi-rigid skull covered with black fur (Phoca vitulina, with very small missing parts), a light and easily fixable deformation, probably due to crushing. Silver mounts. Beautiful gilded crest, and a gilded star on the front badge bearing the crowned monogram 'U'. Four air-holes in the upper part of the skull. Chin-straps lined in velvet and covered with silver scales (one scale detached, but still present). Left cheek-piece with fabric rosette.With well-preserved sweat-band inside, bordered with gold impression; purple silk cap (signs of use and time, fraying) with paper label. Complete with its original case featuring lid hinges (detached but present). Very rare. height 25,5 cm.
Lot 357
dating: 17th Century provenance: Italy, Solid, straight blade of triangular section, the base with scale graduated from one to one hundred and twenty. Iron hilt with quillons and pommel engraved with acorns. Horn grip (small missing parts) carved with coils and decorated with brass wire binding and nails. length 33.6 cm.
Lot 121
dating: about 1920 provenance: Papal States, Silver-plated skull with gilded crest and mounts, the front shaped as a lion's head with black mane, olive with embossed inscription 'Benedetto XV' ( 1914-1922 ). Frontal badge with silvered rays and gilded papal tiara. Chin-strap with scale, plume-holder with rare red-white feather (for trumpet players). Turban made of black seal fur. The visors made of red Moroccan leather inside, featuring brown leather sweat-band and red silk caps (damaged). height 32 cm.
Lot 160
dating: Third quarter of the 20th Century provenance: Italy, On a 1:66 scale. Made of wood and metal. Crafted with extreme attention to detail. Original cord treated with wax. Preserved in a glass case with a wooden base, along with the awarded medal from the 'Federazione Italiana Navimodel'. Only one other model made for the San Felipe is known. The model is a unique piece and is accompanied by a technical sheet edited by the author. dimensions case 123,5 x 97,5 x 46,5 cm.
Lot 552
Two Boxed Sabra (Israel) 1/43 scale USA Super Cars, 8110 Cadillac Eldorado Israeli Presidents car, dark blue body, white interior, state of Israel emblems to doors (slight loss to decals) and 8123 Cadillac Convertible, metallic mauve, red interior, black roof, with road sign, both near mint original condition, in perspex stackable pocket garages, with header cards, 8110 Perspex garage has a crack to the side. (2 items)
Lot 33
A rare Frog flying scale model of a RAF Hawker Hart Land-Going day Bomber, 1934, finished in silver with K2497 markings, painted green and red wooden propeller, in original box with instruction booklet, Memo envelope, band inserter rod and Frog lubricants, fair to good condition some creasing to fuselage and wings and a few small tears, propeller section loose, box fair general wear, one lid corner torn and another with partial tear, lid dirty and with surface tears).
Lot 554
Two Boxed Sabra (Israel) 1/43 scale USA Super Cars, 8116 Chevrolet Taxi, yellow body, red interior, with road sign and 8119 Pontiac Firebird, silver/black body, black interior, spun wheel hubs, both in near mint to mint original condition, in perspex stackable pocket garages, with header cards, 8119 Perspex garage has a crack to the top. (2 items)
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