We found 12155 price guide item(s) matching your search

A gentlemen's gold plated Omega 'Seamaster 3D' mechanical strap watch,with a 35mm case, 135.007.64. A silvered dial with raised gilt batons and hands, with a centre second sweep. An after market leather strap and buckle. Movement no. 21061324, calibre no. 286. No box or papersBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportWinds and ticking but no guarantee as to time keeping or continued running. Hands adjust and move correctly.Glass scratched. Minor marks to the case.

An 18ct gold Jaeger-LeCoultre mechanical bracelet watch,35.30mm diameter, with a silvered dial, baton hour markers and Arabic numerals at the quarters, and centre second sweep. An after market metal expanding bracelet. Case no. 508900, serial no. 497524, calibre no. P450/4Cbr. Marked 18k 0.750, Swiss assay marks, import hallmark London 1957. 69.74g. An insurance valuation dated 14th November 1958, available to viewBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running. No guarantee as to timekeeping or continued running.Crown winds and hands adjust, but crown is a little stiff.Some marks/discolouration to dial.Surface marks/scratches to case and glass.Bracelet is a later replacement, generic, base metal bracelet. Wear to gold plating of bracelet.No box or papers.Previous insurance valuation is available to view online, but is not being sold with the watch.

A gentlemen's stainless steel Omega 'Constellation' chronometer quartz strap watch, c.1980,ref 1333, with a 34mm case. A circular silvered dial with raised silver and black batons and hands, with a centre second sweep and date aperture at 3.00. A brushed hexagonal bezel to a tonneau shaped case, with recessed observatory back. A black lizard strap, probably after market, with Omega buckle. This case has not been opened. No box or papers.Condition ReportNot running but as this is a quartz model it may require a new battery.Scratches and marks consistent with its age.Glass scratched. Dial showing deterioration.Winding claw worn at the centre.

A gentlemen's stainless steel Rolex 'Oyster Perpetual Air-King Precision' automatic bracelet watch 5500, c.1972, with a 34mm case. A silvered dial, silver and luminous batons, with a centre second sweep, with an Oyster link bracelet. Serial no. 3011209. Calibre no. 1520. Case no. 1002. Paperwork, no case or boxBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running although no guarantee as to time keeping or continued running.Scratches to the glass.Scratches to the bezel, case case and bracelet.Wear to the bracelet.The curved ends to the bracelet appear to dip at the edges of the case.Significant scratches to the bracelet and clasp.

A gentlemen's stainless steel Rolex 'Milgauss' antimagnetic automatic bracelet watch, 40mm diameter, with a black dial with applied luminous baton hour markers, outer white minute divisions with orange five minute markers, luminous baton hands and orange lightning bolt centre second sweep, with a green tinted crystal. A polished bezel to Oyster link bracelet with deployant clasp. Model no. 116400, serial no. G812342, case no. 2380. 152.67g, no box or papersBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running. No guarantee as to timekeeping or continued running.Crown winds and hands adjust.Surface marks/scratches to case and bracelet.A couple of very minor dust specks to dial.No box or papers.There are no additional links with this lot.

A gentlemen's stainless steel Rolex 'Oyster Perpetual' automatic bracelet watch, c.1971,ref. 1601. A 36mm case with a matte black dial, raised batons, and centre second sweep. Date aperture at '3', to a white gold fluted bezel, presentation inscription to the case back, and stainless steel 'Oyster' bracelet with deployant clasp. Serial no. 3265262. Calibre no. 1570. 99.76g. With a later box from 'The Vintage Watch Company', and a photocopy of a previous insurance valuation dated 29.6.2012Buying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running. No guarantee as to timekeeping or continued running.Crown pulls out. As such, movement cannot be manually wound, and time/date cannot be adjusted. Requires attention.Minor surface marks/scratches.Some losses to the luminous dot hour markers.No original box or paperwork. A later box from 'The Vintage Watch Company'.

A gentlemen's stainless steel Breitling 'Colt' automatic bracelet watch,38mm diameter, with a white dial, applied Arabic numerals, date aperture at '3', and luminous hands with centre second sweep. A unidirectional rotating bezel to three row link bracelet and deployant clasp. Model no. A17035, serial no. 22259. 116.38g. No box or papersBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running. No guarantee as to timekeeping or continued running.Crown winds and hands adjust.Some minor marks to dial - possibly dust/dirt specks.Surface marks/scratches to case and bracelet.Case back dirty.Some wear to bracelet links.No box or papers.

A ladies' stainless steel Tudor 'Princess Oysterdate' automatic bracelet watch, c.1976,with a 25mm case. A blue dial, raised silver batons and hands, centre second sweep and date aperture at 3, with a stainless steel bracelet. Model no. 852999, serial no. 9240/0, Steelinox bracelet. Tudor case and papers, no outer boxBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportWinds and ticking although no guarantee as to continued running.Hands adjust correctly.Crown screws back into place.Glass scratched.Bezel, case and bracelet scratched.Movement to the links of the bracelet.Case dirty.Clasp scratched and scuffed but closes well.

A gentlemen's stainless steel Longines 'HydroConquest' automatic strap watch, 43mm diameter, with a black dial, luminous dot hour markers with Arabic numerals at the quarters, date aperture at '3', and centre second sweep. A black unidirectional rotating bezel, to embossed caseback, rubber strap and deployant clasp. Model no. L37824569, serial no. 53031563. 130.00g. With box, outer case and paperwork, the warranty card dated 28.09.2021, and purchase receipt available to viewBuying this second-hand wristwatch could save up to 0.8 tonnes of CO2e compared to buying new.Condition ReportCurrently running. No guarantee as to timekeeping or continued running.Winds, and hands adjust.Minor surface marks/scratches to case and bezel.Strap and case back a little dirty.The purchase receipt is available to view, but is not being sold with the watch.

A Cabot Watch Company Two button chronograph with black dial, broad sweep and two subsidiary dials, with stopwatch function, the dial with government arrow, the reverse numbered 0552/924-3306 and 3378/73 with further Government arrow. 4cm wide. *CR: No guarantee of working condition is given. Currently appears to operate correctly. Lacks strap, scratches to cover. Back not removed. *BP 22.5% (18.75% plus VAT) plus a lot fee of £8 inc. VAT on each lot.

Rolex Oyster Precision steel and gold officially certified superlative gents chronometer wristwatch, having satin face with sweep seconds hand. On simulated crocodile non Rolex strap. (B.P. 21% + VAT) The case does show some wear, but appearing basically good, a couple of noticeable scratches to the back, adjusts and ticks.  winder screws in  tight and the hands set ok.  Rotor winds smoothly and runs.  The bezel is rose colour and the hands are gilt colour.  The numbers between the case lugs are:  6582 329785 (barely legible).  

Henry Moore O.M., C.H. (British, 1898-1986)Recumbent Figure bronze with a brown patina on a wooden base13 cm. (5 1/8 in.) long (excluding the base)Conceived in 1938 and cast in bronze prior to 1948, in an edition of 9Footnotes:ProvenanceMarion and Gustave Ring, Washington D.C.Private Collection, New YorkWith James Goodman Gallery, New YorkWith Waddington Galleries, London, 2004, where acquired by the family of the present ownersPrivate Collection, U.K.ExhibitedFlorence, Forte di Belvedere, Henry Moore, 20 May-30 September 1973 (another cast)Caracas, Museo de Arte Contemporáneo, Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, March 1983, cat.no.E85 (another cast)Washington D.C., Hirshhorn Museum and Sculptural Garden, Selections from the Collection of Marion and Gustave Ring, 17 October 1985-12 January 1986, cat.no.35 (this cast)Jerusalem, The Israel Museum, Focus on the Collection: Henry Moore, July 2004-March 2005, cat.no.8 (another cast)LiteratureRobert Melville, Henry Moore: Sculpture and Drawings, 1921-1969, Thames and Hudson, London, 1970, p.100, cat.no.174 (monumental stone version illustrated, pp.100-101)Franco Russoli and David Mitchinson, Henry Moore Sculpture, With Comments by the Artist, London, Arthur A. Bartley, 1981, p.74, cat.no.121 (col.ill., another cast)Exh.cat., Henry Moore; Esculturas, Dibujos, Grabados. Obras de 1921 a 1982, Museo de Arte Contemporáneo, Caracas, 1983, p.100, cat.no.E85 (col.ill, another cast)Virginia Wageman (ed.), Selections from the Collection of Marion and Gustave Ring, Smithsonian Institution Press, Washington, D.C., 1985, cat.no.35, (coll.ill., as Reclining Figure)David Sylvester, (ed.), Henry Moore: Complete Sculpture, 1921-1948, Lund Humphries, London, 1988, Volume 1, p.11, cat.no.184 (monumental stone version illustrated, pp.112-113, no. 191)It is alleged that James Bolivar Manson, director of the Tate Gallery between 1930 and 1938, once said 'Over my dead body will Henry Moore ever enter the Tate'. Yet just one year following his retirement, the Tate (under the directorship of John Rothenstein) gladly accepted Moore's large green Hornton stone carving Recumbent Figure of 1938. Of all Moore's work perhaps, this carving (for which the present work is a maquette) came to symbolise not just Moore's output but to act as shorthand for modernity in 20th Century Britain.Recumbent Figure was commissioned by the architect Serge Chermayeff, who was building himself a modernist home on the Sussex Downs. The carving was to be positioned at the intersection of Chermayeff's terrace and garden, the connection point between his contemporary architecture and the ancient rolling countryside beyond. Moore recalled 'My figure looked out across the great sweep of the Downs and her gaze gathered the horizon. The sculpture had no specific relationship to the architecture. It had its own identity and did not need to be on Chermayeff's terrace, but it so to speak enjoyed being there, and I think introduced a humanising element; it became a mediator between modern house and ageless land' (Henry Moore in Sculpture in the Open Air, British Council film, 1955, transcript reprinted in Alan Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot 2002, p.258–9).Chermayeff ran into financial woes, and Recumbent Figure was returned to the artist, from whom it was purchased by the Tate in 1939. The carving was immediately shipped to New York to be showcased at the British Pavilion of that year's World's Fair, and due to the outbreak of war this intended brief excursion turned into a several-year-long stay. The work was displayed at MOMA and this unplanned circumstance greatly bolstered Moore's reputation in North America. The museum's director wrote in 1946 'It was with great regret that we saw it leave. It had won wide esteem among the museum visitors.' (John James Sweeny, letter to John Rothenstein, 7 March 1946, Tate Public Records TG 4/9/568/1).Following Recumbent Figure's return to the UK, the carving was featured in Battersea Park's first open-air exhibition, where again it drew much attention. Vogue magazine featured the work across its pages alongside sharply dressed models, appropriating Moore's carving as a symbol of the newness so appreciated by its fashion forward readership. In contrast, cartoonists satirised the figure, and in this context the carving's status as a modern icon was subverted to poke fun at politics of the day. Through such broad exposure the carving soon became one of the most famous modern works within the Tate's collection, a status confirmed when its image was included prominently as part of the tiling display at Pimlico station.At the time Moore carved the four-and-a-half-foot Recumbent Figure it was his largest and most ambitious work to date and only made possible by his recent move from Hampstead in London to Burcroft in Kent. The larger studio-space, ability to work outdoors and the hiring of Bernard Meadows as an assistant enabled Moore to increase the scale of his work substantially. To aid this new practice Moore produced a maquette for Recumbent Figure in clay. This is the first time in his career that he adopted a method of scaling up, which would become a mainstay of his sculptural practice thereafter. Meadows recalled that he and Moore attempted, unsuccessfully at first, to cast the clay maquette to lead in a meadow field at Burcroft. Moore subsequently cast the clay to a bronze edition in 1945, to which the present cast belongs.Not only does Recumbent Figure represent one of Moore's earliest maquettes, most importantly it possesses one of the earliest instances of piercing the form, a major development of a highly important device the artist would frequently draw upon throughout his career. Speaking of this progression at the time, Moore stated that 'The first hole made through a piece of stone is a revelation. The hole connects one side to another, making it immediately more three-dimensional. A hole can have as much shape-meaning as a solid mass. Sculpture in air is possible, where the stone contains only the hole, which is the intended and considered form' (Henry Moore, 'A Sculptor Speaks', Listener, 18 August 1937, pp.338–40).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

Roger Hilton (British, 1911-1975)December '63 signed and titled 'HILTON/DEC '63' (verso)oil and charcoal on canvas127 x 114 cm. (50 x 44 7/8 in.)Footnotes:ProvenanceWith Waddington Galleries, LondonMr and Mrs W. MortonSale; Sotheby's, London, 4 July 2001, lot 173 (as Composition 1963)With Godson & Coles, London, 2002, where acquired by the family of the present ownersPrivate Collection, U.K.The 1960s ushered in a period of growing critical and commercial acclaim for Hilton. May 1960 saw Hilton's first solo exhibition at Waddington's, with institutional purchases gathering pace: the British Council acquired the first of eleven paintings that they were to buy of his work, with paintings also sold to the Tate, the Arts Council, the Gulbenkian Foundation and the Ferens Art Gallery in Hull. Abroad, travelling exhibitions featured his work, including in the British Council-organised British Painting 1700-1960, which was shown in Moscow and Leningrad, while European Art Today: 35 Painters and Sculptors, organized by the Minneapolis Institute of Arts, travelled to Los Angeles, San Francisco and New York. Clement Greenberg, the most influential art critic of the 20th Century who shaped the reception of modern art in America, was to see this exhibition and write to Hilton praising the 'real character' shown in his paintings, which was quite an accolade from this notoriously hard-to-impress critic (Clement Greenberg quoted in Andrew Lambirth, Roger Hilton: The Figured Language of Thought, Thames & Hudson, London, 2007, p.139). Alan Bowness was a key supporter and not only wrote catalogue introductions which gave serious weight to Hilton's work, but also recommended the purchase of his paintings by public bodies, including the Contemporary Art Society. In November 1963, Hilton was to win first prize in the prestigious John Moores Exhibition in Liverpool, for the painting March 1963. The present lot, December '63, was painted the month after he won this most fêted prize, and it exhibits all the richness and exuberance that characterises Hilton's best work. With glowing ochre and bold blues, the vibrant colours of this work marks out the painting as particularly special. While these strong hues may be the first to catch the viewer's eye, Hilton's careful handling of a complex but measured palette shows his flair and mastery of the abstract medium at this time which had been so lauded by the critics, and rightly so. The painting is bordered by delicate, warm peach tones, while white and off-white paint is applied with varying techniques to provide contrasting intensities of colour, and a painted surface which intrigues. While the central area has a thin, sparing layer of off-white paint, the half-circle along the lower edge has been created first with a palette knife, the upper sliver then finished with swirling impasto strokes. A mist of hazy charcoal is smoothed over the central area of paint lending a grainy, subtle, shadowed surface to the work, inviting closer inspection and fading off towards the top edges. Bold brushstrokes luxuriate in the application of the deep royal blue and cobalt tones, catching the light and showing Hilton's delight in the slick, smooth application of these rich paints. While painting provides the form of the present work, Hilton's ever-present concern with drawing shapes it, contains it, encircles it, defines it. His characteristic charcoal line provides the organic sweep that curves through the centre of the work, reminiscent perhaps of bodily shapes, but often intangible or so far removed from the original source, that one can only see a suggestion or trace of this. As Andrew Lambirth has noted, for Hilton, incorporating charcoal into a painting was his own unique development, integral to many of his most successful abstract works: 'Visible charcoal lines in a painting usually suggest under-drawing, the artist's preliminary ideas. Hilton turned this preconception on its head, for in his pictures the charcoal was of crucial importance, as important as the paint' (ibid., p.111). In fact, Hilton often applied the charcoal last, not first, raising the drawn line to equal status as the traditionally exalted paint. As Lambirth has so succinctly put it: 'in a very real way, the drawing is as important as the painting' (ibid., p.155).In the present lot, we have a supreme example of Hilton's best work from a decade when critical and commercial appreciation began to really recognise his achievements. A master of the medium, this is a painter at the height of his powers. In an abstract language that suggests, but is not defined by, its references to the outside world, be that figural muse or airy Cornish landscape, Hilton created a style which combines the painterly gesture and drawn line which is uniquely his own.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

HOLLAND & HOLLAND A 12-BORE 1883 PATENT 'THE ROYAL' SIDELOCK EJECTOR, serial no. 12561, with additional barrels, circa 1889, 30in. replacement nitro barrels (by another, numbered 47010, London proof marks for 1904-1925), the rib spuriously engraved 'HOLLAND & HOLLAND. 98. NEW BOND STREET LONDON.', 2 1/2in. chambers, bored approx. imp. cyl. and 1/4 choke; additional 30in. replacement nitro reproved barrels (by another, original Birmingham proof marks for 1937/8), the rib spuriously engraved 'HOLLAND & HOLLAND. 98, NEW BOND STREET LONDON.', 2 1/2in. chambers, bored approx. imp. cyl. and 1/2 choke, treble-grip Henry Holland and John Robertson patent hammerless action, patent no. 23 of 1st January 1883, the action face with W.M. Scott and T. Baker patent 'gas check' gas vents, patent no. 617 of 1882, use number H140, toplever engraved 'HOLLAND & HOLLAND PATENT NO. 23', automatic safety with gold-inlaid 'SAFE' detail, dipped-edge lockplates with protruding tumbler pivots, fine acanthus scroll engraving with floral bouquets, the underside with '"THE ROYAL" PATENT SAFETY HAMMERLESS EJECTOR', ejectors and firing mechanism inconsistent, brushed bright and reblued finish overall, 14 3/4in. figured replacement stock (slight sweep at comb) including 7/8in. rubber recoil pad, fore-end wood with insert repairs, weight 6lb. 13oz. (London proofed barrels) and 6lb. 11oz. (Birmingham proofed barrels). S2 - Sold as a Section 2 Firearm under the 1968 Firearms Act

An Edwardian humorous print of a chimney sweep

X2 boxed Thomas Earnshaw gentlemen’s CORNWALL SWEEP SECOND RETROGRADE in ink black automatic wristwatch model nos. ES-8060-01 and Presisto longitude skeleton automatic in northern grey ES-8807-04, one with black strap and the other with grey strap

X2 Thomas Earnshaw wristwatches; Maskelyne Calendar Multifunction wristwatch Black Beige Moonphase ES-8031-05 and Cornwall sweep second retrograde in rose gold colour with brown strap model no 8060-03, with boxes

A collection of seventeen Hummel porcelain figures. Including Merry Wanderer in sizes, For Father, Postman, Mountaineer, Chimney Sweep, Shepards Boy, Home From Market, The Cat Meow, Globe Trotter and Little Hiker amongst others. (17)

EGON SCHIELE (1890-1918)Sitzende Frau signed and dated 'Egon Schiele 1917' (lower right)black pencil on paper46.1 x 29.6cm (18 1/8 x 11 5/8in).Executed in 1917Footnotes:ProvenancePrivate collection, Vienna and London (possibly acquired directly from the artist).Liesl Bunzl Collection, Vienna and London (by descent from the above).Thence by descent to the present owners.LiteratureJ. Kallir, Egon Schiele: The Complete Works, 1998, no. 1999 (illustrated p. 582).'He had always been a demon draftsman [...] and his line, by 1917, had acquired an unprecedented degree of precision [...] Schiele's drawing technique – the armature upon which all his painted forms rested – had acquired an almost classical purity [...] Schiele's hand had never been surer, more capable of grasping, in a single breath-taking sweep, the complete contour of a figure. This extreme dexterity invited mannerism; when his subject was not particularly exciting, drawing was just too easy for him. And yet, when he was inspired, his execution was flawless; he had found, in the best of his late work, the perfect line' (J. Kallir, Egon Schiele, Life and Work, New York, 2003, pp. 223 & 230).Expressionism was characterised by a deep exploration of identity, of individual inward analysis and questioning, and an unwavering scrutinization of a rapidly modernising world. In Austria, Egon Schiele was by far the movement's foremost exponent, swiftly leading him to become Austria's leading artist of the time before his untimely death on 31st October 1918, at the age of just 28. This astronomical rise to critical acclaim within his short lifetime goes some way to illustrate the utmost quality of his ability and the deep resonance his work found in contemporary society, though it was not without its trials. Generally unappreciated for many years after his death, we look back at Egon Schiele as one of the twentieth century's most prolific, confrontational, and challenging artists.As the youngest student enrolled at the Viennese Akademie der Bildenden Künste in 1906, it was not long before Schiele broke away to carve his own path through the streets of the capital, documenting his rampant adolescent sexual energy, together with the unceasing hypocrisies of 'civilised' Viennese society to which he belonged. Thus began one of art canon's finest examinations into the vulnerability of the human figure through an unabashed examination of the vagrants and prostitutes of Vienna, and of the artist himself.Schiele's works from the 1910-1911 period are known for their unforgiving frankness and provocative imagery as the artist focused intensely on questions concerning identity and the individual, sexuality, spirituality and death. This is often presented through the gazing youthful eyes of Vienna's street urchins, the explicit representation of prostitutes, or through the stark, emaciated nude figure of Schiele himself, contorted into varying positions and selves: 'Schiele the effeminate, the elegant, the dandy; Schiele the fearful, the anguished, the uncertain; Schiele the stoic, the angry; Schiele beautiful and Schiele hideous' (J. Kallir, Egon Schiele: The Complete Works, New York, 1998, p. 68).This period defined his public character as the rebellious maverick who sought to question, probe and shock, intending to expose people for how they really were, and the works somewhat echo the grotesque faces by Leonardo Da Vinci in their gruesome exaggeration. This shock factor certainly helped garner awareness for Schiele at the time but also had a profound effect on his rediscovery later in the twentieth century as longstanding rigid social structures were questioned and confronted more vigorously.This brazen approach to human depiction did however eventually result in the artist's brief incarceration following a string of incidents in rural Austria-Hungary in 1911-1912. Accused of kidnap, rape, and public immorality, he was ultimately only charged with the latter on account of his open display of erotic drawings in his studio home and served a month of jail time. This imprisonment, albeit brief, had a profound effect on the young artist and it was a major catalyst for his renewed approach, it 'checked the wayward slide of his adolescent impulses, shocking him back to reality so that he could complete the process of socialization and take his place in the adult world [...]. He had learned the hard way that his special artistic mission did not, after all, grant him immunity from society's strictures. If he wanted to protect the former, he would, in the future, have to obey the latter' (Kallir, op. cit., p. 127). Nevertheless, controversy can be of huge benefit to the up-and-coming artist, infamously the melancholic Expressionist Edvard Munch became a sensation overnight following national outcry over his works at the Verein Berliner Künstler in November 1892 – an event that ultimately birthed the German avant-garde. Ultimately, Schiele was alert to the profound commercial benefit of this scandal, with his name murmured across the lips of the art-conscious elite.'I want to start anew [...]. It seems to me that until now I have just been preparing the tools' (Schiele quoted in a letter to Anton Peschka in C. Nebehay, Egon Schiele, 1890-1918: Leben, Briefe, Gedichte, Salzburg & Vienna, 1979, p. 209).As Schiele matured emotionally, so he did artistically and by 1917-1918 his output had developed considerably, the period marked with a renewed creative vitality. His works, whilst still focused on the human disposition, comprised a more confident line displaying greater precision and fluidity as he sculpted his sitters with a series of simple loose black lines. Female sitters challengingly confront the viewer with a boldness and unflinching gaze illuminated through their simplified pictoral construction. The faceless doll-like figures of the 1914-1915 period are gone, replaced with a defiant realism. Schiele now appears to shift towards a voyeuristic separation from the model, allowing them ownership of the space, though the raw sensuality of his sitters is by no means diminished by his maturation of style. On the contrary, they themselves are presented with a new confidence and owned eroticism, unseen in previous years, the sexually explicit exchanged for a more tantalisingly suggestive experience.As Jane Kallir commented: 'Schiele's women are, by 1917-18, thoroughly modern. Like most modern women, they own their sexuality. The nude and semi-nude models take pride in their seductive bodies and are empowered by their allure [...]. Nor are they projections of the artist's ego. They combine the mystery and the specificity of complete, independent human beings' (J. Kallir, Egon Schiele's Women, Munich, 2012, p. 266).Indeed, of the present works, Sitzende Frau and Sitzende Frau mit Hut both illustrate this prowess openly, but also via minor subtleties. Found in the catalogue raisonné amongst a series of very similar works of a woman in the chronological stages of undress - some identified as Adele Harms - Sitzende Frau pulls us directly into a modelling session in Schiele's Heitzinger Hauptstraße studio. The model has begun to seductively remove her stocking from a cocked knee, her intimate undergarments hanging suggestively from her shoulders and her hair loosely bound, on the precipice of cascading freely – each element rendered with a minimal line, but successfully conveying the tangibility of a finished painting. Unlike the earlier models, she lacks a vulnerability, instead emanating a proud and defiant confidence, as well as perhaps a more illicit relationship with the artist. Sitzende Frau mit Hut alludes to a separate, more personal relationship, as she gazes directly outwards with a far more intimate and suggestive view. Ev... For further information on this lot please visit Bonhams.com

AN ENGRAVED GILT-BRASS CARRIAGE CLOCK WITH PUSH REPEAT AND ALARM FOR THE CHINESE MARKETRetailed by L. Vrard & Co. Shanghai Hankow, circa 1900The channelled case with oval bevelled top panel, engraved all over, signed white enamel dial with ‘Breguet’ moon hands and sweep centre seconds above the alarm dial, original silvered platform lever escapement, the striking work mounted on the backplate, striking on a bell, with the alarm bell in the base19cm highThe case might benefit from a light wash.  The movement is not functioning and does not tick, so a service will be required.  We can confirm that the escapement is not broken.The dial is in good condition.

A RARE AND UNUSUAL GILT CAST-BRASS CARRIAGE CLOCK WITH PUSH REPEAT AND ALARM FOR THE CHINESE MARKETBy Drocourt, Paris, No 6594, circa 1875The Empire style case cast in relief with foliage, a large bevelled glass top panel, the enamel dial with ‘Breguet’ moon hands and sweep centre seconds and alarm dial, large silvered platform lever escapement, the backplate stamped with Drocourt’s DC and carriage clock cachet and numbered 6594, and a circular Chinese stamp, striking on a bell, the inner side of the front plate also numbered 6594 and again on the base plate17.5cm highA carriage clock signed Grohé, in a virtually identical case was sold in the rooms, 17 November 2021, lot 727. The clock is in good condition.  The strike and repeat functions, and the clock ticks.

HENRY JAMES JOHNSTONE (BRITISH 1835-1907) YOUNG SWEEP Signed, watercolourDimensions:18cm x 13cm (7in x 5in)Provenance:Provenance: The Bellamy Collection, County Down, Northern Ireland

Two Steiff yellow tagged teddy bears, comprising of a Chimney Sweep and Huntsman, both with golden mohair and card tags --16in.(40cm.)high

FOURTEEN ROYAL DOULTON BUNNYKINS FIGURES, comprising a boxed Family Photograph DB1, Buntie Bunnykins 'Helping Mother' DB2, Billie Bunnykins 'Cooling Off' DB3, Billie & Buntie Bunnykins 'Sleigh Ride' DB4, Mr Bunnykins 'Autumn Days' DB5, Mrs Bunnykins 'Clean Sweep' DB6, Daisie Bunnykins 'Spring Time' DB7, Dollie Bunnykins 'Playtime' DB8, Busy Needles DB10, Rise and Shine DB11, Tally Ho DB12, The Artist DB13 (unglazed patch to arm), Grandpa's Story DB14, and Sleepytime DB15 (14 + 1 box) (Condition report: all appear in good condition and as stated, no obvious damage, dusty)

Bag of Drain Rods and Sweep Heads

Chimney Sweep, Spade, Coal Scuttle, Fork Heads, etc.

Cream face having Roman and Arabic numerals, sweep seconds hand and Jaguar motif all before the Quartz movement.Mineral crystal lens within the 40mm gold-plated watch head and complete with leather strap.Click here for more details and images

Bearing 'Rolex Submariner' apon having subsiduary date dial, luminous baton hands, sweep seconds hand, mineral crystal glass all before the Quartz movement.Measuring 33cm in diameter.Click here for more details and images

New old stock. A white Smiths Astral 'Delhi' 9" dial wall clock.White face marked 'Smiths' with Arabic numerals and sweep seconds hand all before the QGEM 200/01 movement bearing original Porsche shield motif apon. Presented in original box, date stamped 'Oct 1980' complete with instructions- box also Porsche-branded. A rare and unused UK-market timepiece bearing vintage dealership logos throughout.Click here for more details and images

Having a white 12" dial (30cm) and bearing 'Super Shell' motif apon.Arabic numerals, sweep seconds hand, all before the electrified QGEM movement, also bearing 'Shell' apon. Marked in pencil verso, 'Shell Mex House, 80 The Strand, London' - formerly the head office of Shell-Mex & BP Petroleum. In fine working order. For re-wiring.Click here for more details and images

With Mercedes logo over, black leather strap with red stitching and complete with original box and booklet.Black ground face with Arabic high-twelve numbers, luminous baton hands, red sweep seconds hands and subsiduary date aperture.Click here for more details and images

A collection of photography equipment, to include a pair of Equatech 13" ring lights and a collapsible sweep box

A modernist opal and white metal necklace, comprising a 15 x 11 mm opal cabochon bezel set above a D shaped flat panel, and hinged to a supporting D shaped panel, itself between vertical sides which sweep out to connect to foxtail link chains, the pendant decorated with the controlled use of temper colours, texture, and riveted construction, (tests as silver), 19.94 g, 7.5 cm high

Royal Doulton boxed Bunnykins figures to include - Story Time DB9, Sleigh Ride DB4, Sundial DB213, Polly DB71, Clean Sweep DB6, Bridesmaid DB173, Sleepy Time DB15 & Mother DB169. (8)

SCHUCO; four German clockwork figures comprising Dutch boy violinist, mouse, clown with a suitcase and a further figure of a chimney sweep, tallest 13cm (4).PROVENANCE: The Collection of Jack Tempest. Additional InformationLacking key to all. The chimney sweep winds and runs with arms lifting up and down. The other three figures wind however do not move, attention needed. The chimney sweep top hat is worn and squashed. Wear to the hat on the mouse and the mouse is discoloured with some marks and rubbing to the nose. Other general age wear marks and wear to all but overall fair.

A Hidden Treasure Pegasus, 189/750; a boat badger and frog, 108/950; Meercat Family, a Sweep; Frog in a car (5)

A Goebel figure, modelled by MJ Hummel, signed, Out of Danger, printed marks; others, Wayside Harmony, Apple Tree Boy and Girl. Chimney Sweep, Home From Market, School Boy, Violinist; Boy with a Rabbit; a trinket pot and cover; Hummel Collectors Guide Book; etc (17)

Tissot: A gentleman's bi-metal wristwatchModel: Le LocleReference: L164/264Date: Circa 2005Movement: 25-jewel automaticDial: Silver, gold baton hour markers, black minute markers, gold pointed hands, black sweep seconds hand, date at 3Case: Polished round stainless steel, polished gold-plated bezel, exhibition backStrap/Bracelet: 7-link stainless steel and gold-plated, solid end linksBuckle/Clasp: ButterflySize: 39mm

Gentlemans Rolex Oyster Perpetual Datejust stainless steel wristwatch, model 16234, serial number Y136887, the brushed steel dial with applied Roman numerals, minute track, date aperture and sweep centre seconds, fluted bezel, screw down crown with quick set date, 36mm case, on a Rolex Oyster bracelet, with original guarantee dated 21/10/2002, with original booklets and wallets in original green Rolex box with original Rolex outer card box.Good original running condition, not tested for time keeping , some light scratches to case, strap and buckle clasp. Strap is not stretched

1940s IWC 18ct gold wristwatch with manual wind calibre 89 movement, circa 1948, the circular satin dial with applied gold Arabic and dart hour markers with gold dot minute markers, centre sweep seconds and gold hands in circular gold case with teardrop lugs on black leather strap, case approximately 36mm diameter.

Rotary - Gentleman's 9ct gold cased wristwatch, 21 Jewels Automatic, the silvered dial having gilt baton hour markers and centre seconds sweep, date aperture at '6 o'clock', 34mm diameter (ex.crown), on a gold plated and stainless steel flexi bracelet, with black Rotary box

C20th brass bulkhead type clock, circular white Arabic dial with red 24hr numerals and seconds sweep, black hours and five minute divisions, single train movement, D23cm H14cm

C20th Tissot Deck Watch, Swiss chrome cased watch with white Roman dial, Arabic five minute divisions and sweep seconds, screw off back stamped Acier Inoxydable 101610 Swiss, D6cm in mahogany case, W10cm H27cm max

A ladies SEIKO wrist watch with seconds sweep and date aperture W/O

A gents SEIKO actura kinetic wrist watch with seconds sweep and date aperture as new original inner and outer box W/O

A gents black faced kinetic 100M wrist watch with seconds sweep and date aperture as new in original box W/O

A gents SEIKO kinetic 50M wrist watch with seconds sweep and date aperture as new in orinial box W/O

Longines, a gentleman's gold wristwatch, signed gold dial with baton numerals, date aperture, sweep seconds hand, quartz movement, 14ct yellow gold, inscription to reverse, case numbered 18866599, case 3.7cm wide, 17cm long, 74g total

Rolex, a lady's gold DateJust wristwatch, signed mother of pearl dial with Roman numerals and date aperture, sweep seconds hand, oyster perpetual automatic movement, on president-link bracelet, case 2.7cm wide, numbered K830536 and 179178, original box and papers

Rolex, a ladies gold Datejust wristwatch, signed champagne dial with diamond hour markers, date aperture, sweep seconds hand, automatic movement, on 18ct gold president band, case 2.6cm wide, with spare links Accompanied by a facsimile of a Strang receipt dated 19th Ocotber 1999 and a valuation for insurance dated 28th Ocotber 1999.

A silver and horn quaich, with inscription 'SGUAB ASI' ("sweep it away"), the silver mounted lugs with engraved thistle and cross decoration, by J.C & S, Birmingham 1913, another smaller example stamped 925, a late Victorian silver caddy spoon, the body lobed, the handle with scrolling openwork, by Mappin & Webb, Sheffield 1897, a silver quaich, Birmingham 1939, a silver Quebec souvenir spoon, stamped 925, weighable silver 98gms (5) Condition Report:Available upon request

A Rotary quartz Wristwatch the textured dial with hourly baton markers, sweep seconds hand and date aperture at 3 o'clock in 9ct gold case, case width approx 30mm, on 9ct gold bracelet, approx 46gms

A gentleman's Omega Automatic Seamaster Cosmic Wristwatch the silvered dial with hourly baton markers and sweep seconds hand in gold plated case, case width approx 34mm on gold plated bracelet

A gentleman's Omega Geneve Wristwatch the champagne dial with hourly baton markers and sweep seconds hand in 9ct gold case, case width approx 33mm, on brown leather strap in red Omega box

A gentleman's Bell & Ross BR03-94-S-11337 Automatic Wristwatch the circular black dial with arabic numeral at 6 and 12, remainder baton markers, sweep seconds hand, two subsidiary dials and date aperture at 4.30, in square stainless steel case on leather strap with BR buckle. In original box with papers

A vintage Rolex Oyster Precision Wristwatch the silvered dial with arabic numerals at 3, 6 and 9, the remainder arrowhead markers and sweep seconds hand in stainless steel case, case width approx 33mm, numbers worn

An early 20th Century 9ct gold cased open faced keyless wind Pocket Watch the white enamel dial with roman numerals and sweep seconds hand by E Wineberg, Walsall, case width approx 50mm, approx 119gms all in

A 1:48 SCALE 24-GUN 6TH-RATE WARSHIP OF THE 1741 ESTABLISHMENT, POSSIBLY BY A DOCKYARD APPRENTICE, CIRCA 1745the 30in. hull carved and hollowed from the solid and finished in white below the waterline, black main wale and buff above, lower deck and stern gunports with hinges and rings, sweep ports, chainplates with deadeyes, boarding ladder, regulation lion figurehead finished in gold paint, roundhouses, wooden anchors with bound stocks, stern with carved trumpeting cherub taffrail, plain wooden deck crowded with fittings including bitts, belaying rails, with coiled ropes, belfry with canopy and bell, bound water cask, hatches with gratings, Venetian red capstan, rigged helm and inner bulwarks, guns in stepped wooden carriages with trucks, swivel guns, companionways and other details, bound masts with yards, fighting tops, standing and running rigging with blocks and tackle with sheaths and much other fine detailing, loosely mounted on ebonised cradle stand secured to wooden display base with plaque and brass pad feet. Overall measurements -- 38 x 42 x16in. (96.5 x 107 x 40.5cm.) National Maritime Museum Caird Collection, 1937, Cat No. 1743-2; de-accessioned 1993 and sold: Sotheby's, Marine Pictures and Nautical Works of Art, 16th July 1993 lot 444; Kriegstein Collection; with Hyland Granby Antiques; Private European Collection.Literature: Waite, A.H. National Maritime Museum Catalogue of Ship Models to 1815. H.M.S.O. circa 1970., p.95 where notes read The model is probably the work of an 18th century amateur craftsman but the proportions are reasonably good. Its general appearance, disposition of the gun-ports etc. suggests a 24 gun, 6th Rate of the 1741 Establishment, but the hull is a little too fine to represent an actual ship. The rigging is probably 19th century but although on the heavy side it is approximately correct for the period.

A KRIEGSMARINE BULKHEAD CLOCKthe 6in. silvered dial numbered '273' with KM mark, spade hands with sweep seconds, 8-day going barrel movement contained in brass bulkhead case -- 8in. (20cm.) diametermovement sticky and only runs for a few seconds - needs a clean; seconds hand bent and with paint loss, some marks to dial

ROLEX - a bi-metal Submariner Oyster Perpetual Date automatic bracelet watch, ref. 16613, circa 1993, purple/blue dial with dot and baton hour markers, sweep centre seconds hand, Mercedes hands, cyclops date aperture and rotating blue bezel, serial no. S210233, case width 40mm, working order, boxed with papersMovement – currently working Dial - clean and dial has turned purpleGlass - cleanHands - goodCase - light surface abrasions and light wearCrown – slightly worn on high points, screw-down working, Quickset date working, hands adjust smoothlyBracelet - associated Rolex bracelet, very light surface abrasions and hardly any stretching to links, clasp workingNotes – with inner box, Rolex guarantee certificate, second-hand invoice dated 2017, Rolex tag and spare link