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Lot 1994
A Zenith decorative reproduction French style bracket clock with glass panels to front and sides, gilt floral decoration on marbled dark red ground, the circular dial with Roman numerals set on plaques, and sunbursts to the hands, height 34cm, with matching bracket, and a modern brass mantel timepiece with textured finish, the circular white dial set with Roman numerals and inscribed "Imhof 8 Swiss", height 17cm (2).
Lot 30
ZENITH; a 1960s 9ct yellow gold cased manual wind gentleman's wristwatch, the circular silvered dial set with Arabic numerals and subsidiary seconds, the movement no.5950103, on 9ct gold expandable bracelet. CONDITION REPORT: Weight 58.8g. Surface scratches, scratches to glass, movement moves freely.
Lot 75
A GENTLEMAN'S AUTOMATIC, STAINLESS STEEL EL PRIMERO WATCH, BY ZENITH, CIRCA 2009Black Arabic numerals, date aperture, minutes, hours and seconds subsidiary dials, stainless steel bezel and bracelet, concealed folding clasp, skeleton reverse dial, case, dial, movement and clasp signed, model 01/02.0451.400, additional links, in original fitted case and dust box and papers
Lot 2206
A gentleman's base metal cased, keyless wind Rolex M.O.D issue openfaced pocket watch, with a signed jewelled lever movement, signed inner case back, the signed black dial detailed Rolex A.8860, with Arabic numerals and subsidiary seconds, the screw off case back, detailed A.8860 G.S.MK.11 (the hands and the glass lacking) and a gentleman's steel cased Zenith wristwatch, the signed silvered dial with gilt baton shaped numerals and with subsidiary seconds, on a brown strap.
Lot 299
ZENITH, a WWII chrome plated brass manual wind wristwatch, circa 1940, numbered D.8403688, ref. 1518, the signed black dial with silvered Arabic numerals and subsidiary seconds dial, the 15 jewel Zenith movement cal. 124-6, no.3499897, the case 34mm diameter, on a fabric strap CONDITION REPORT: movement functioning. Plating worn on the case, deterioration to the lume on the numerals, strap fine
Lot 286
Hafez (Aams-al-Din Mohammad, of Shiraz). The Works of Dewan Hafez: With an Account of his Life and Writings, Calcutta: A. Upjohn, 1791, title in Persian and English, with woodblock British royal and East India Company coats-of-arms at head, imprint within decorative border, text in Persian in nasta'liq and naskhi type, later pencil annotation throughout, lacking leaves 79 and 80 from the third part, tiny hole to title imprint affecting one letter, tiny marginal wormhole affecting title and first 8 leaves, pp.8-9 of second part cut short and into a couple of words, a couple of other catchwords in second part just trimmed by the binder, leaves 5 and 6 of third part sometime neatly remargined, leaves 119 and 120 in third part mis-foliated as published, last 19 leaves stained and with other lighter staining mainly confined to gutter affecting various gatherings, marbled endpapers, contemporary ownership stamp of Mr Strachey on endpaper, possibly repeated in ink manuscript in Persian below, label of Carberry Tower Library, contemporary half calf, worn, spine and corners crudely repaired with tape, folio (270 x 175mm), together with Bell (Gertrude L.), Poems from the Diran of Hafiz, Heinemann, 1928, original cloth, 8vo First item: Very rare first printed edition of the celebrated Persian lyric poet, who lived 1315-1390. The edition itself was compiled by Abu Taleb Khan Landani (1753-1805/06; administrator at Lucknow and author) based on 12 manuscripts. 'By common consent [Hafez] represents the zenith of Persian lyric poetry. In no other Persian poet can be found such a combination of fertile imagination, polished diction, apt choice of words, and silken melodious expressions' (Enc. Iranica Vol. XI, Fasc. 5, pp. 461-465). This edition was printed in 1200 copies by Aaron Upcott (fl.1785-1800). 'The first printed edition using movable type was commissioned by Richard Johnson of the East India Company [...] In a letter to Johnson prior to its publication, Sir William Jones, the famous orientalist and translator of Hafez, had complimented Johnson on taking up the task: "An impression of your Hafiz will, indeed, be a valuable acquisition to the publick; and I hope some years hence to offer up a copy of it on the tomb of the divine poet near the crystal stream of Rucnabad"' (Enc. Iranica Vol. XI, Fasc. 5, pp. 479-483). Only 7 institutional copies have been traced: BL, Cambridge, Bodleian, Edinburgh, Marburg, Princeton and Chapel Hill. Shaw 186 (not calling for the first part of 15 ll., nor the second part of 5 ll.). (2)
Lot 347
Björk's Iris van Herpen couture iridescent acrylic dress, worn for the 'Biophilia' tour, 'Micro' collection, Spring-Summer, 2012, labelled, the nude tulle ground applied front and back with complex armour-like layers of fan-shaped hand-cut and laser clear cut acrylic panels, each piece edged in black, bust 86cm, 34in The dress was worn for the 'Biophilia' tour at: Le Cirque en Chantier, February 2013; Zenith de Paris, March 2013; Craneway Pavillion, May 2013; Hollywood Palladium, Hollywood Bowl, Bonnaroo Festival, Tennessee, June 2013; Alexandra Palace, London, September 2013; and also in the film 'Biophilia Live'. For the Boonaroo concert, the bright orange wig was swapped for a 'Lion' mask designed by Maiko Takeda. Iris van Herpen's inspiration for this collection was scientific SEM photographs of bacilli, vermin, mites, lice and termites. She said, 'I wanted to show the beauty of them, because in my eyes they are the most bizarre, unbelievable and most imaginative creatures imaginable' This dress took 4 months to complete. CONDITION REPORT: Zip is stiff. This dress seems to have been more heavily worn than the other acrylic dresses. There is scattered rubbing to the black edges of the acrylic panels. Grey soiling at neck edge. Crease lines in three panels at right underarm from use - grey soiling to tulle mainly at rear waist and shoulder areas where the black edging has reacted with perspiration. Not immediately noticeable when mounted on a mannequin - just at close inspection. Small hole in tulle at rear hem area and wear in tulle at base of zip. Crease lines in the acrylic clusters centre back on the left and right hem area. Lining with wear around zip closure and some light staining to shoulder area. Two acrylic panels at front right waist area - need re-stitching to the ground at the pointed tips. Small hole in lining in skirt area where the internal struts have pushed against it. Patched repairs in matching tulle at both underarms. Over-view: Good condition with minor creasing, some light soiling and perspiration which would not be noticeable on display.
Lot 373
ZENITH, Respirator Luxe AF/P (High frequency / Precision), a gentleman's stainless steel day/date automatic wristwatch. The square case with silvered quartered dial, baton detail and day/date aperture at 3 o'clock, the case 34mm wide, on a black leather strap CONDITION REPORT: movement functioning, dial in need of a clean with one scratch, scratches to case back, strap with little wear
Lot 526
An Art Deco Zenith white metal travelling alarm clock in fitted leather case. With engine turned banded engraving, raised on squat bun feet and having square dial with Arabic numeral markers, 5.5cm. Condition Report. To be used as a guide only. Time and alarm function working. Some tarnishing to the dial otherwise in very good condition.
Lot 13
New Kingdom, 1550-1077 BC. A gold hoop formed as two parallel rods, scaphoid bezel with beaded outer edge, cells with inlaid stones in red (jasper), green and blue (lapis lazuli) forming a design of an opposed pair of papyrus plants. 6.66 grams, 24mm overall, 21.26 x 18.05mm internal diameter (approximate size British P, USA 7 3/4, Europe 16.55, Japan 16) (1"). Extremely fine condition. A large wearable size. Very rare. Property of a Mayfair gentleman; acquired by the family during the 1970s. Supplied with a positive X-Ray Fluorescence metal analysis certificate. See the Walters Art Gallery for two similar rings, accession number VO.77 (57.1474, 57.1475) Accompanied by an Art Loss Register certificate. The technique of inlaying objects, especially jewellery, was developed to perfection in ancient Egypt, with the art being much imitated by neighbouring civilisations. The Egyptians used a range of materials for inlaying their jewellery, from glass to semi-precious stones, such as lapis lazuli that was imported from far-off Afghanistan. Many of the craftsmen were employed to create masterpieces that were destined for the royal courts, the wealthy and also the temples; the gods were decorated in jewellery comparable to that worn by the Pharaoh. Many of the workshops of the jewellers were on the grounds of important temple complexes as it was the Pharaoh who controlled the supply of gold and precious materials, plus many of the temples had the added advantage of being secure compounds that were heavily guarded. This ring represents the very fine and high level of skill that the jewellers of Egypt possessed during the New Kingdom, a time when Egypt reached its zenith. The high quality in this ring can be compared to pieces found in the intact royal burial of the three princesses of Tuthmosis III, as well as Tutankhamun. The closest parallel to this ring is one belonging to Ramses II, found at Saqqara, which is similarly decorated with opposed inlaid lotus flowers, as well as two examples now in the Walters Art Gallery. The lotus was much prized by the Egyptians for its beauty, scent and for its symbolism of re-birth.
Lot 51
Middle Kingdom, 2133-1797 BC. A carved wooden funerary worker figurine depicted kilted, kneeling with hands on the knees; red, black and white pigment; socket to the underside. 20 grams, 11.5cm (4 1/2"). Fair condition. From an early 20th century collection. See discussion in Taylor, J.H. Death and the Afterlife in Ancient Egypt, London, 2001, p.99-103. Adequate provisioning for the afterlife was a paramount concern to Egyptians of every social and occupational class. While funerary offerings and activities of everyday life were most often portrayed in relief during the Old Kingdom, small painted models placed in the tomb became increasingly prevalent during the First Intermediate Period as an effective means of perpetually ensuring the necessities and pleasures of life. It is during the Middle Kingdom that these tomb models reached their zenith and they present us with myriad scenes to do with daily life in ancient Egypt.
Lot 313
A Yeoman 9 carat gold cased gentleman's wrist watch with 21 jewel movement, baton numerals and date apreture, the case dated Edinburgh 1959, winder lacking, an Avia 9 carat gold cased ladies wrist watch with 15 jewel movement, Arabic and baton numerals and subsidiary seconds dial, the case dated Birmingham 1953, a Zenith gentleman's wrist watch in gold plated case and one other wrist watch CONDITION REPORT: If you require further images of this lot or a condition report please contact us with your request as condition reports have not been included in the description
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7837 item(s)/page