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Preisdatenbank abonnierenKaws (American 1974-), 'Clean Slate (Brown)', 2018, open edition painted cast vinyl collectible, published by The Modern; 35.5cm tall35.5cm tallIn Good ConditionStructurally sound with no apparent defectsLight wear to the underside of the feet from previously being displayedSome minor markings to the figure, most notably to the main figure's earPresentation box/original packaging not presentIn Good Condition
Takashi Murakami (Japanese 1962-), 'And Then x6 Blue', 2013, offset lithograph in colours on wove paper, signed and numbered from an edition of 300 in ink, published by Kaikai Kiki Co; sheet: 50 x 50cmsheet: 50 x 50cmIn good condition No knocks or tears to the sheet Light creasing to lower left hand section of the sheet and minor crease to the lower right hand cornerThis work has been stored flat and has not been framed.
Invader (French 1969-), 'Rubik Kubrick I - Alex', 2006, screenprint in colours on wove paper, numbered from an edition of 300 in pencil, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm In very good condition No knocks or tears to the sheet One very minor crease to the upper right hand edge of the sheet, visible upon close inspection Very light markings to the left hand side of the sheet verso, this is not visible recto There are four framing strips attached to the edges of the sheet verso, from previous framing This work has been stored flat and is not currently framed.
Banksy (British 1974-), 'Napalm', 2004, screenprint in colours on wove paper, signed and dated '05, numbered from an edition of 150 in pencil, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate of Authenticity In good condition No knocks or tears to the sheet There are some light creases horizontally across the centre of the sheet, visible recto and verso Light handling mark to the lower left of the sheets white border and some minor wear to the upper edge of the sheet, visible upon close inspection Very minor marking to the upper left hand section of the sheet, visible upon close inspection This work has been stored flat and has not been framed. Provenance: This work is accompanied by a Pest Control Certificate of Authenticity
Martin Whatson (Norwegian 1984-), 'Velociped Mini'. 2014, stencil, spray paint, and marker on canvas, signed and dated recto, signed and numbered from an edition of 15 verso; canvas: 30 x 30cmARR canvas: 30 x 30cm In very good/artists condition No rips or tears to the canvas No signs of paint loss or restoration Potential light markings to the edges of the canvas, visible upon close inspection.
Stik (British 1979-), ‘Standing Figure (Book) (Orange)’, 2015, offset lithograph in colours on wove paper, signed in black ink, accompanied by a copy of the Stik Book; sheet: 76 x 24cmARR sheet: 76 x 24cm In very good condition No visible knocks or tears to the sheet Very minor wear to the upper corners of the sheet, visible upon close inspection One minor handling crease to lower section, visible in raking light Three horizontal folds to the sheet, as originally issues This work has been stored folded and has not been framed.
Paul Insect (British 1970-), 'Demios Your Guiding Light (Variant)', 2016, screenprint in colours on Arches 88, signed, dated, and numbered from an edition of 5 APs in pencil, the regular variant edition was 20, published by Allouche; sheet: 75.5 x 54.5cmARR sheet: 75.5 x 54.5cm In very good condition No knocks or tears to the sheet There is one light handling crease to the right hand edge of the sheet verso and some slight curvature to the horizontal edges of the sheet Very minor wear to the lower edge and very minor markings verso, visible upon very close inspection This work has been stored flat and has not been framed.
Bridget Riley (British 1931-), 'Intervals 3', 2021, a complete set of three screenprints in colours on wove paper, all signed, titled, dated, and numbered from an edition of 75 in pencil, published by the Artist; sheets: 55.2 x 38.1cm each (3)ARR sheets: 55.2 x 38.1cm each (3) In very good condition No knocks, tears or creases to the sheets There is an extremely light marking to the upper left hand section of the left hand sheet (as pictured), visible upon close inspection These works have been stored flat and have not been framed.
Tracey Emin (British 1963-), 'Dark Womb', 2010, soft ground etching on wove paper, signed, titled, dated, and numbered from an edition of 50 in pencil, published by the Royal Academy; sheet: 40.5 x 45.5cmARR sheet: 40.5 x 45.5cm In Very good Condition No knocks or tears to the sheet Soft crease to the bottom left corner, only visible in raking light This work has been stored flat and never been framed In Very Good Condition
Nick Smith (British), 'Haring Dog (Red)', 2019, giclee print in colours with screenprint varnish in 330gsm Somerset Satin paper, signed, dated, and numbered from an edition of 66 in pencil, published by Rhodes Contemporary Art; sheet: 54 x 61cmARR sheet: 54 x 61cm In Good Condition No knocks or tears to the sheet 1 light handling crease to the right hand boarder, away from the printed image and visible in raking light This work is currently stored flat and has never been framed In Good Condition
Kaws (American 1974-) 'What Party (Five Works)', 2020, a complete set of five cast vinyl figures, stamped to the underside of the feet, produced by Medicom Toy, Tokyo; 28.7 x 12.9 x 9.3cm each (5)28.7 x 12.9 x 9.3cm each (5)All figures in very good condition No knocks, chips or cracks Light markings/discolouration to the ears of the white figure, visible upon close inspectionAll stored inside original boxes Some minor wear to boxes.
Connor Brothers (British Duo), 'Tell Me Beautiful Untrue Things', 2016, giclee, screenprint, acrylic, and oil on wove paper, signed, dated, and inscribed AP; sheet: 112 x 66cmARR sheet: 112 x 66cm In very good condition/artists condition No knocks, tears or creases to the sheet Slight waving to the sheet can be seen verso in raking light Minor indendations can be seen across the sheet recto, this is most likely due to the acrylic & oil elements of the work and is not considered damage Minor markings verso, most likely from time of production Stored flat, not framed
Banksy (British 1974-), 'Grannies', 2006, screenprint in colours on wove paper, signed and numbered from an edition of 150 in pencil, published by Pictures On Walls; sheet: 56 x 76cmARR sheet: 56 x 76cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity In very good condition No knocks or tears to the sheet Minor crease to the upper right hand corner of the sheet, visible upon close inspection There are some light handling creases to the sheet, to the upper left hand corner and to the right hand edge There are some markings to the sheet verso, these are not visible recto Deckled edges in good condition This work has been stored flat and is not framed.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity
Damien Hirst (British 1965-), 'The Last Supper', 2005, offset lithograph in colours on smooth wove paper, signed in white pencil, from an open edition, published by Paul Stolper and Other Criteria; sheet: 152 x 200cmARR sheet: 152 x 200cm In good condition No visible tears to the sheet There are some light handling creases across the sheet and some minor markings verso, visible upon close inspection Some minor wear to the edges and corners of the sheet This work has been stored rolled and has not been framed.
Mr Brainwash (French 1966-), 'Bombshells - Brigitte Bardot', 2019, two colour screenprint on archival art paper, signed and numbered from an edition of 50 in silver ink, dated and bearing the Artists' Thumb Print verso; sheet: 76.5 x 57cm (framed)ARR sheet: 76.5 x 57cm (framed) In very good condition No visible knocks, tears or creases Deckled edges in good condition Very light marking to the lower left hand edge of the sheet, visible upon close inspection This work has been framed in a black frame and float mounted, leaving all corners and edges of the sheet visible This work has not been examined outside of the frame.
Kaws (American 1974-), 'Separated', 2020, a complete set of three cast vinyl figures, stamped to the undersides of all three figures; 19cm tall each (3)19cm tall each (3)In very good condition No visible knocks, chips or cracks to the sculpturesSome light markings shown, visible upon close inspection There are some markings/minor paint loss to the base/underside of each sculpture.
Banksy (British 1974-), ‘Flag (Silver)’, 2006, screenprint on silver cheomalux paper, numbered from an edition of 1000 in black pen verso, published by Pictures On Walls; sheet: 50 x 70cmARR sheet: 50 x 70cm Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity. In very good condition No knocks or tears to the sheet Some very light handling creases to the sheet visible in raking light, potentially due to the nature of material There is some minor wear to the upper right and both lower corners of the sheet, visible upon close inspection Some minor 'speckles' to black background, likely to have been from the time of production This work has been examined inside and outside of the frame.Provenance: This work is accompanied by a Pest Control Certificate Of Authenticity.
John Craxton R.A. (British, 1922-2009)Goatherd and Goat signed and dated 'Craxton 1950' (lower right)oil on canvas127 x 104 cm. (50 x 40 in.)Footnotes:ProvenanceThe Artist, by whom gifted as a wedding present to the parents of the current owners in 1961, thence by family descentPrivate Collection, U.K.ExhibitedChichester, Pallant House Gallery, John Craxton: A Modern Odyssey, 26 March-21 April 2024LiteratureIan Collins, John Craxton: A Modern Odyssey, Pallant House Gallery, Chichester, 2023, p.82, fig.76 (col.ill.)In May 1946 – the first spring after World War Two – John Craxton flew away to Greece. At 23, the London-born nomad found his subject in Aegean life, light and landscapes. That passion would last until his death aged 87.By 1950 the artist was in his stride: exploring the ancient Greek world of the Eastern Mediterranean; exchanging a semi-Cubist approach in conveying jagged and rugged topography for a singular style taking in everything from mythology and archaeology to Byzantine mosaics. Despite many famous friends, Craxton depicted ordinary people – soldiers, sailors and herder families living close to nature as in Homeric times. If they all possessed a heroic aspect, they also appeared on the point of laughter. In quicksilver drawings and paintings taking ever longer, subject and artist seemed to share a secret joke as well as an all too evident joy in being alive.Always short of money, Craxton accepted free materials to produce a large painting for a 1951 Festival of Britain exhibition while briefly back in London. Cash prizes were a further lure. While pretending to be toiling in England, he then absconded back to Greece and his current home port of Poros. Drawing on a recent tour of Crete, when he had nearly been shot by a drunken gunman firing wildly while entering a house on a donkey to celebrate a shepherd's wedding, a hedonistic artist began the work which would become Four Figures in a Mountain Landscape (Bristol Museum & Art Gallery). He also completed Goatherd and Goat as the principal study and a stand-alone painting.Four Figures in a Mountain Landscape is an evocation of sun and shadow. Herders, two in light and two in darkness, lead a flock of goats from shelter in a mountain cave for milking at sunrise. Goatherd and Goat depicts the key foreground figure in the dazzle of dawn.Cast in the black garb of rural Cretan manhood, and with a traditional scarf lending a piratical look, the figure clasps a billy goat's horn in an image still to be seen across the untamed Mediterranean. But here an everyday encounter meets ancient and mythic themes. Much as Craxton loved goats – admiring their resilience in tough scenery they nibble into desert – there is also a link to the wild bull capture of antiquity and the bull leapers' fresco at the Minoan Palace of Knossos. Predictably, a happy victim of 'procraxtonation' he missed the Festival of Britain deadline – but for once with a good excuse beyond the pleasures of a social life in the sun. He was asked to design the décor for Frederick Ashton's 1951 Daphnis and Chloe ballet starring Margot Fonteyn, which launched a whole new personal and professional adventure. In 2011 David Attenborough found Four Figures in a Mountain Landscape in a Bristol City Art Gallery basement during a television documentary. Goatherd and Goat was unseen until the last leg of John Craxton's 2022-2024 centenary tour, taking in Athens, Chania, Istanbul and Chichester. We are grateful to Ian Collins for compiling this catalogue entry and to Richard Riley for his assistance in cataloguing this lot.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
Henry Moore O.M., C.H. (British, 1898-1986)Animal Head signed and numbered 'Moore 9/10' (on the base)bronze with a green patina53 cm. (20 7/8 in.) highConceived in 1956Footnotes:ProvenancePrivate Collection, Paris, where acquired by the present ownerExhibitedLondon, Marlborough Fine Art, Henry Moore, 85th Birthday Exhibition, 15 June-13 August 1983, cat.no.20 (another cast)LiteratureHerbert Read, Henry Moore: A Study of his Life and Work, Thames and Hudson, London, 1965, p.226, cat.no.211 (ill.b&w)John Hedgecoe and Henry Moore, Henry Spencer Moore, Thomas Nelson and Sons, London, 1968, p.265 (ill.b&w)Alan Bowness (ed.), Henry Moore: Complete Sculpture Volume 3, 1955-1964, Lund Humphries, London, 1986, p.25, cat.no.396 (ill.b&w)Alan G. Wilkinson, Henry Moore Remembered, Key Porter Books, Toronto, 1988, p.166, cat.no.116John Hedgecoe, A Monumental Vision: The Sculpture of Henry Moore, Collins & Brown, London, 1998, p.220, cat.no.362 (ill.b&w)David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006, p.250, cat.no.178 (col.ill.)As Reinhard Rudolph asserts, Henry Moore's sculptural principles dictated a three-dimensionality (David Mitchinson (ed.), Celebrating Moore: Works from the Collection of The Henry Moore Foundation, Lund Humphries, London, 2006). Paramount to each conception was a front, a back and two sides. This concept seems familiar enough; after all, the fundamental difference between sculpture and painting or drawing is surely the occupation of genuine space, rather than the illusion of it. But for Moore, spatial depth wasn't enough – he wanted to place his work wholly in the real world, where the viewer could walk around it and take in all angles and perspectives. Rudolph cites three exceptions to this creed: Three Forms Relief, Wall Relief (see the following lot), and the present work, Animal Head, all executed in 1955. Quite what prompted this rather dramatic departure from precedent at this particular time is unclear, but the result for Animal Head is a decisive direction, an active move towards the viewer that is unachievable in more four-sided works. It has been suggested that Moore was inspired by the gargoyles that jut out from the cathedrals of Paris' Île de la Cité, the spell-binding Sainte-Chapelle and, of course, the Notre Dame. Animal Head certainly evokes these symbols of the Gothic movement to an extent, but it has a uniqueness and crypticity that opaques any attempt to isolate a single inspiration. This air of mystery, brought about in part by the asymmetry of the work, seems to evolve as you cross from left to right. From the left-hand profile, the head feels distinctly pre-historic, with the angular protrusion of the cheekbone and the shape of the snout evoking a distant, now-extinct beast. Moore engaged with history passionately, as is hinted at by the previous lot, and a nod towards creatures of the past thus seems in character. But as you move to the smoother right-hand profile, the head feels more equine. The mystery starts to dissipate, giving way to the familiarity of a horse leaning over a stable door, mouth gently open as if to receive food from a doting owner. The hollow eyehole that runs through the bronze adds to the fluctuating atmosphere as you round the piece. The light coming through from the other side, creating a mystical, timeless feel in profile, is eclipsed by the dark of the tunnel as you slowly move round, bringing the Animal Head to life vividly. An interesting comparison is drawn to Moore's work of 1980, Horse's Head, some twenty-five years after the present work. While less titularly cryptic, and thus with less of an air of mystery, Horse's Head arguably has less of the distinctive, familiar feel that Animal Head captures from the right-hand profile. It is this dynamic between the familiarity from some angles and the mystery from others that intrigues so tantalisingly in Animal Head. This is energised by a dynamism and decisiveness emerging from a single point of origin, an unseen rear, that is so rare in Moore's sculpture.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
Keith Vaughan (British, 1912-1977)Three Figures and Cane Chair titled and dated '3 Figures & Cane Chair 1956' (on an artist's label attached to the backboard)gouache, pen and ink27 x 32 cm. (10 5/8 x 12 5/8 in.)Footnotes:ProvenanceWith The Redfern Gallery, London, 11 November 1966, where acquired byPeter VitiDuring the 1950s Vaughan's international reputation had grown. Seven gouaches had been included in an exhibition in Buenos Aires in 1950, the Brooklyn Museum showed others in 1953 and Durlacher Brothers of New York exhibited further gouaches in 1952, 1955 and 1957. By now, he had established himself as one of Britain's foremost handlers of the medium of gouache. Three Figures and Cane Chair is typical of Vaughan's somewhat ominous and portentous subject matter around this time. Small groupings of male nude figures, alternately bathed in bright light and shrouded in mysterious shadow, had been a favourite concern since he completed his major work First Assembly of Figures in 1952. Here, three figures in a domestic interior play out a mysterious ritual. It is an emotionally and sexually charged scene, not least because of its unexplained nature and the varying degrees of light and deep shadow on the two background figures. Here and there, on the furniture and parts of the figures, blank paper supplies areas of light tone, while skilful and sensitive use of drybrush drawing and opaque layers of gouache define the anatomical forms. It is interesting to note that Vaughan was the victim of an attempted blackmail the year he painted Three Figures and Cane Chair. Living as a gay man during the 1940s and 1950s, he harboured an underlying fear of discovery or public scandal. The memory of the incident haunted him for years and, perhaps, the anxiety and emotional disturbance he experienced may be felt in the erotic tension of the present work.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
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
Laurence Stephen Lowry R.A. (British, 1887-1976)Sailing boats signed and dated 'L.S. LOWRY 1922' (lower right)oil on canvas29.5 x 34.5 cm. (11 5/8 x 13 1/2 in.)Footnotes:ProvenanceThe Artist, by whom gifted to Frank Jopling Fletcher, thence by descent to the present ownerPrivate Collection, U.K.One of the earliest surviving drawings by L.S. Lowry, executed at fifteen years of age and listed as No.1 in Mervyn Levy's The Drawings of L.S. Lowry, is titled Yachts (1902) and was executed at Lytham St. Anne's, where the Lowry family often spent their summer holidays. Lowry was deeply connected to the sea, and it remained a constant throughout his career with images of pleasure boats, tankers or just open water interspersed amongst and providing contrast to the urban landscapes of his native Manchester. The sea was a calming force and provided an opportunity for reflection amidst an otherwise hectic world and as the years went on it became nostalgic and offered a degree of familiarity which Lowry craved. In a taped recording with Gerald B Cotton, Lowry talked with passion about his experience of the sea and of his time with a herring fleet seventy-five miles out into the North Sea off Peterhead and Fraserburgh, his parents waiting for him on the shore. He saw amongst the currents and waves the same struggle which occupied the people among whom he lived and worked, the 'Battle of Life' as it were, and was intoxicated by it. In his text on the artist, T.G. Rosenthal writes 'it is not mere speculation to say that the sea, wherever he found it, gave him ample opportunity to work with his beloved, and so ingeniously exploited, white paint. More than the industrials, and more than his earth-bound landscapes the views of the sea had one overpowering component which existed on a much smaller – and frequently mostly hidden – aspect, namely an uninterrupted horizon where the preponderant white sky met the edge of the sea.' (T.G. Rosenthal, L.S. Lowry, The Art and the Artist, Unicorn Press, Norwich, 2010, p.208). Sailing boats dates to 1922 making it an intriguingly early Lowry seascape and one which would have appealed to his mother who favoured these depictions of the Lancashire coast. The painting bears a debt to the artist's influential tutor, Adolphe Valette, who pioneered Impressionism in Manchester and encouraged his students to explore the variation of light and colour in their work as can be seen here amongst thick and visible brushstrokes. The inclusion of a figure in the boat located at the foreground of the present work is reminiscent of Valette's images of boats on the Manchester Ship Canal, which themselves were inspired by Monet's studies of the River Thames. L.S. Lowry met Frank Jopling Fletcher at art college, and they remained lifelong friends. Lowry later painted his portrait, which is now a part of the Salford Museum and Art Gallery collection.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
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
Keith Vaughan (British, 1912-1977)Portrait of a Boy signed and dated 'Keith Vaughan 1937-42.' (lower right)gouache and charcoal on card43.4 x 35.3 cm. (17 x 13 7/8 in.)Footnotes:ProvenanceWith Thos. Agnew & Sons, LondonSale; Sotheby's, London, 30 September 1998, lot 192, where acquired by the family of the present ownerPrivate Collection, U.K.Only a handful of Vaughan's paintings survive from the 1930s, including portraits such as the present work. Several represent young men seated or standing (see Portrait Head, 1935; Portrait of Dick Vaughan, circa 1935 and Seated Figure in an Armchair, circa 1937). In each, the adolescent sitters gently turn their heads to the right and are conceived volumetrically with delicate light and shade. The absence of background details or distracting settings, compels us to focus attention on the sitters' features and facial expression.The model for Portrait of a Boy could be one of a number of people that posed for Vaughan at that time including his brother, Harold Colebrook (his partner at the time) or various friends who were cajoled into posing for him. He conveys a melancholic mood as though quietly considering his place in the world while reflecting on something inexpressible, unspoken and deeply felt. His introspective demeanour equally echoes Vaughan's own insecurities towards the end of the 1930s. While working for Lintas Advertising Agency as a layout man, he was unable to pursue his ambition to become a full-time painter. His crippling shyness and perceived lack of talent, coupled with pressing project schedules, meant he had to endure a humdrum existence between the design studio and his mother's flat in Hampstead. Trusted colleagues such as the Australian painter John Passmore, introduced Vaughan to the work of Picasso while he was at Lintas. The sensitive handling of the forms, pink colouring and thoughtful character of the boy, no doubt, owe a debt to Picasso's Rose Period paintings.We are grateful to Gerard Hastings for compiling this catalogue entry.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
Denis Mitchell (British, 1912-1993)Boswens signed with initials, numbered and dated 'DAM/63/2' (at the base of the bronze); further signed with initials, titled, numbered and dated again 'BOSWENS/1963/No 2/DAM' (on the underside of the slate base)bronze with a polished patina on a slate base52.7 cm. (20 3/4 in.) high (including the base)Footnotes:ProvenanceThe Artist, November 1966, from whom acquired byT.W. (Fello) Atkinson, thence by descent to the present ownerPrivate Collection, U.K.ExhibitedNew York, Bianchini Gallery, 1963 (details untraced, another cast)London, Waddington Galleries, 1963 (details untraced, another cast)London, A.I.A. Gallery, 1963 (details untraced, this cast)St Ives, Penwith Galleries, Mixed Summer Exhibition 1963 (details untraced, this cast)London, Marjorie Parr, Denis Mitchell, 6 February-1 March 1969, cat.no.7 (another cast)Bristol, Arnolfini Gallery, Denis Mitchell, 25 March-26 April 1967, cat.no.9 (another cast)Leeds, Queen Square Gallery, Small Sculpture, 13 September-7 October 1967, cat.no.17 (another cast)Bath, Festival Gallery, Denis Mitchell Sculptures, April 1978, cat.no.15 (another cast)London, Flowers East, Denis Mitchell, 1993, cat.no.2 (another cast)Dublin, Bridge Gallery, Denis Mitchell and Friends, January 1997 (unnumbered, another cast)St Ives, Penwith Gallery, The Rock and the Light, 12 October-8 November 1996, cat.no.3 (another cast)We are grateful to the Artist's Estate for their assistance in cataloguing this lot.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
Tristram Hillier R.A. (British, 1905-1983)Fin de Saison signed 'Hillier.' (lower right); titled and partially dated 'FIN DE SAISON/193-' (on the stretcher)oil on canvas60.4 x 81.1 cm. (23 3/4 x 31 7/8 in.)Painted in 1939Footnotes:ProvenanceWith Arthur Tooth & Sons, London, 1940With The Redfern Gallery, London, October 1941, where acquired by Mrs Edgar MocattaSale; Christie's, Paris, 1 December 2006, lot 97, where acquired by the present ownerPrivate Collection, U.K.LiteratureTristram Hillier, Leda and the Goose, Longmans, London, 1954, p.160Fin de Saison belongs to a concise series of ten known thirty-two-inch canvases painted by Hillier in 1938-40. These works represent the most ambitious pictures to arise from an important turning point in Hillier's oeuvre, which arguably pinpoint the moment that he arrives at his mature artistic style, and poignantly mark the waning days of peacetime life.Hillier's best-known compositions prior to this date had been those of the early 1930s selected by Herbert Read for inclusion in his Art Now and Unit One exhibitions. Here Hillier had favoured desolate strange and decaying maritime subjects arranged in stylised dynamic compositions in which jutting forms are strewn across nonspecific beaches. Hillier then deepened his engagement with Surrealism for a series of four paintings entitled Objects on the Beach in which anchor forms are morphed into spikey biomorphic entities which dwell in desolate coastal wildernesses.Such works had found an eager audience, selling well through London galleries, and Hillier planned to stage a large one man-show with his new dealers Arthur Tooth & Sons in the summer of 1940. For this exhibition (which was ultimately postponed) Hillier set about painting with vigour and refinement in his approach. In the resultant pictures the surrealist air and maritime focus of his early works remained present, and to these he introduced a layer of half suggested narratives, accompanied by a greater degree of realism. Two additional themes are keenly perceptible in Hillier's work of this period; the affection for his immediate surroundings of the Seine-Maritime region of France and an allegorical vein which referenced the impending conflict in central Europe. In fact, as the artist recalls, the latter of these dictated the former: 'Few doubted, by this time, that war with Germany was sooner or later inevitable, and Normandy, it seemed to me, securely protected behind the invincible Maginot Line that was nearing completion, would be as safe a place as any in which to settle. The light, the landscape, and, above all, the harbours and beaches of the coast, offered endless material for my work' (Tristram Hillier, Leda and the Goose, Longmans, London, 1954, p.155).In early 1939, with great assistance from his father-in-law, Hillier had purchased a grand house with a good studio space named L'Ormerie at Criquetot-l'Esneval. The nearby beach resort of Étretat with its rich artistic heritage proved a draw for Hillier, and its famous arched cliffs feature in several of his works of this period including the present composition. Writing after the war he recalled: 'Étretat has attracted many artists, for it was there that Courbet painted, among other canvases, that great picture 'La Vague'; the cliffs were made famous by Monet; Sisley also worked there, and in our own time Braque, Dufy and Henri-Matisse. Unlike the majority of places frequented by painters, however, it had never become popular in the vulgar sense, at any rate until the advent of the last war, and retained a peculiarly intimate charm. The beach with its drying nets and jet black fishing boats etched against the luminous Norman sky, and throwing deep translucent shadows upon the shingle, excited me enormously and formed the subject for what I consider some of the best paintings I have ever made' (ibid, p.156).Consistent with all European artists of his age, WWII was to have a defining impact on Hillier both personally and professionally. In 1939 he was yet to know the full horrors that humanity would unleash upon itself, but as both his writing and paintings reflect, he was keenly attuned to the direction of travel. Of his paintings that address this matter directly, it is the present work in which his mood is most sharply projected. Hillier himself later recalled the moment of its inception:'On a fateful Sunday morning we listened to the voice of Chamberlain telling us over the radio that we were at war, and a pall of gloom spread over the country affecting, it seemed to me, even Nature herself, for Autumn fell early that year and the dying leaves were a sad and fitting accompaniment to departing guests, the emptying beaches of the coast, and the sense of impending doom. I felt desperately forlorn and painted a picture entitled Fin de Saison' which epitomized my mood. It was indeed the end of a season of folly, indulgence and false values, but I knew it to be the end too, for better or for worse, of an epoch and, for myself and my generation, of youth' (ibid, p.160).The Estate of Tristram Hillier is preparing a forthcoming catalogue raisonné of the Artist's paintings and would like to hear from owners of the artist's works. Please write to The Estate of Tristram Hillier, c/o Modern British and Irish Art, Bonhams, 101 New Bond St, London, W1S 1SR or email britart@bonhams.comThis 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
Registration No: OSU 688 Chassis No: D927 MOT: ExemptMatchless-engined V-twin MorganPurchased for display by the National Motorcycle Museum in 1989Previously restored by The Light Car and Cyclecar Restoration Co of BirminghamAn ingenious concept, HFS Morgan built his first three-wheeler in 1909. Based around a tubular steel frame, its low centre of gravity and advanced 'sliding pillar' independent front suspension endowed it with excellent roadholding. Progressively developed, the single rear-wheel-driven platform played host to a variety of JAP, Matchless, Blackburne, Anzani and Ford powerplants over the years (though, the prototype used a Peugeot unit). Fearsome competition cars, Morgan three wheelers driven by the likes of HFS himself, Clive Lones and Harold Beart acquitted themselves well on race circuits and trial stages alike (Mrs Gwenda Stewart recorded 115.66mph during a record run at Montlhery in 1930). An evolution of the JAP powered Aero model, the Super Sports appeared in 1927. By 1933 Morgan's three-wheeler chassis could be ordered with four types of body, namely: Super Sports, Sports Two-Seater, Sports Family and Family. The Super Sports was notable for its chromium-plated exhaust pipes that run the length of the body. Interest in Morgans of this period has never waned and, if anything, increased in recent times - the company's inspired decision to create a modern three-wheeler having brought the early cars to the attention of a new audience.Attractively finished in Green with a Black interior, this Matchless-engined Morgan Super Sports was purchased by the National Motorcycle Museum from Brian Verrall in April 1989 having been previously restored by The Light Car and Cyclecar Restoration Co of Birmingham. Acquired by the vendor at auction when sold by the museum in 2020, it has continued to be displayed and not been used. Having been on museum display since completion, we suggest this ultimate three-wheeler Moggy will require careful recommissioning prior to use. The restoration was obviously to a high standard and the car appears to be in “excellent” cosmetic condition. For more information, please contact: John Markey john.markey@handh.co.uk 01428 607899
Registration No: EVC 564 Chassis No: 14689 MOT: ExemptTreated to some £58,000 worth of mechanical work over the past few years by marque specialist Earley EngineeringThe final Speed 25 completed and thus benefiting from the 'short stud' cylinder head and dual exhaust systemUprated with a 3.8:1 final drive ratio for more relaxed high-speed cruisingQuicker in period than a Bentley 4.25 Litre of Lagonda LG6"In the Alvis Speed 25 the makers have produced a car which will delight those who appreciate fast motoring with an ample margin of safety. A very quick response to the accelerator is matched by exceptional steadiness under heavy braking conditions, light and accurate steering, and road holding of that special quality which is so rarely encountered these days" (Speed 25 Road Test, Motorsport 1936). Launched in August 1936, the Alvis Speed 25 SB was designed to take advantage of Britain's rapidly improving road network. Marrying sportscar-like performance to an impressive degree of refinement, the newcomer's sophisticated chassis layout incorporated independent transverse-leaf front suspension, a four-speed all synchromesh gearbox and large-diameter four-wheel drum brakes. Featuring a balanced seven-bearing crankshaft and novel spring-cluster overhead valve gear, its triple SU carburettor fed 3571cc straight-six engine was quoted as developing 108bhp @ 3,800rpm. A notably smooth and flexible unit, it endowed the model with near 100mph performance. Principally bodied by Charlesworth (Sports Saloon / Drophead Coupe) or Cross & Ellis (Tourer), the Alvis Speed 25 stole sales from both the Bentley 4¼ litre and Lagonda LG6 alike. Arriving for 1938, the SC variant brought more power courtesy of a ‘short stud’ cylinder head and (later) dual exhaust system. Running boards were replaced by valances on the 1939 Saloons, while the few cars completed during 1940 boasted a higher compression ratio and engine stabilising tie rods. A total of just 391 cars are thought to have left the Holyhead Road factory with final chassis batch being numbered from 14549 – 14689. According to its accompanying copy build record, Chassis 14689 was fitted with Engine 15173 and clothed as a Sports Saloon by Charlesworth using Body 14748. Notable as the last Speed 25 to emerge prior to the Luftwaffe’s devastating bombing raid on the Alvis Works, it was road registered as ‘EVC 564’ and sold new to R.N. Horton Esq of Nineval Cottage, Cleobury Mortimer, Shropshire on 18th October 1940. Thereafter, noted marque historian Wayne Brooks’ research has identified the four-seater as belonging to, or passing through the hands of, the following: E.G. Smith (Rotherham), Bruce L. Earlin (Milford, Pennsylvania), Glen W. Cameron (Chesapeake, Virginia), Jerry W. Brimberry (Albany, Georgia), Graham Bowkett (Wilmette, Illinois), Fred Jenns (Amersham), J. McGill (Beaulieu) and Ing Francesco Criminna (Sicily). Purchased by a friend of the vendor upon its return from Europe in 2018 for the princely sum of £60,000, the Alvis has since benefited from over £58,000 worth of improvement. Predominantly mechanical, the work was carried out by marque specialist Earley Engineering and encompassed a thorough engine overhaul (re-bore, new aluminium cylinder head, fresh big-end bearings / pistons / rings etc), new radiator core, front suspension refurbishment, fuel system flush through, sundry replacement gearbox internals, taller 3.8:1 rear axle ratio (for more relaxed high-speed cruising) and new stainless steel exhaust etc. The headlining was also replaced and some minor bodywork issues sorted. The subsequent subject of a favourable three-page report by Fisher Restoration (a copy of which remains on file), the Speed 25 started readily and ran well during our recent photography session. A lifelong enthusiast, ‘EVC 564’ became the sixth Alvis to join the seller’s stable when his friend fell terminally ill. Driven to and from last year’s Hampton Court Concours d’Elegance and said to be ‘very much on the button’, the Sports Saloon is only being offered for sale because the vendor is about to take delivery of a unique Graber-bodied Rolls-Royce that he has been chasing for decades. A distinctly handsome and imposing car in the metal, it is not hard to see why former custodian Bruce L. Earlin ranked this unique Speed 25 as his favourite ever Alvis (ahead of a 4.3 Litre Short Chassis Vanden Plas Tourer no less) in an article for the Alvis Owners’ Club Bulletin magazine. Offered for sale with V5C Registration Document and history file. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
Registration No: LJJ 736D Chassis No: M-AB1-861940 MOT: ExemptRecent restoration at a cost of over £20,000New body shell from Moke Panels and all panels zinc coatedFinished in the original shade of Spruce GreenThe utilitarian Moke (slang for Donkey) was conceived as a light military vehicle and, codenamed ‘The Buckboard’, was tested by all three branches of the armed forces. However, its relatively low ground clearance ruled it out of most combat situations and its forte was as a beach buggy in such popular holiday destinations as the Seychelles and the Caribbean. Some 50,000 examples were manufactured all told - UK production ran from 1964 to 1968, while they were also built in Australia, Portugal and Italy. The monocoque shell comprised a pair of box-section pontoons connected by the floorpan and firewall. Engine, gearbox, suspension etc. were standard Mini components, making for economical service and repair. Most of the 14,518 British Mokes incorporated Mini MkI running gear but the later ones (1967-68) utilised Mk2 parts. However, of the 5,422 Austin and 9,096 Morris versions made a mere ten percent or so were 'home market' supplied.This stunning first series Moke has just emerged from a comprehensive restoration costing in excess of £20,000 which was based around a new shell sourced from Moke Panels. All panels have been zinc coated and the vendor advises it has been completed to original specification as detailed on the accompanying BMIHT Heritage Certificate. A RHD Home Market model originally finished in Spruce Green with a Green vinyl interior, this Moke was built on 5th April 1966 and despatched to dealer Stewart & Ardern Ltd of Croydon on 15th April 1966. Registered under the London registration ‘LJJ 736D’ it had been specified with front and rear passenger seats, Weathermaster tyres, sump guard and no heater. Found in a derelict state by the vendor, its subsequent restoration included the following new parts; fuel tank and pump, brake lines and pipes, brake shoes & cylinders front and rear, brake back plates, drive shaft gators, steering rack gators & track rod ends, clutch & brake master cylinders, wiring loom, regulator, relays, cables, steel seats with matching green covers, tyres & hubcaps and new hood. In addition, the wheels were sandblasted and finished in OEW, the subframe sandblasted and overhauled whilst the engine was overhauled with cylinders honed and new rings fitted. All works were carried out in 2023 and only c.100 miles have been covered since completion. This painstakingly restored example is worthy of close inspection. For more information, please contact: John Markey john.markey@handh.co.uk 01428 607899
Registration No: GY05 ZGB Chassis No: JTDJG18C40N002146 MOT: T.B.AFamously used in 2005 for the 'car football' matches on BBC's 'Top Gear'Still in the same condition as when used and retains the original blue and white striped wrap and relevant battle damage from having been used as thisA moment many will remember on the nation's television sets is when BBC's Top Gear (at that time presented by Jeremy Clarkson, James May and Richard Hammond) set about a new form of motorsport that didn't really catch on as much as we all thought it would despite its extremely entertaining qualities - Car Football. In 2005, the release of the new Toyota Aygo offered the perfect opportunity to demonstrate Richard Hammond's theory that a city car should be "quick, light on its "feet", good at changing direction, and be able to dart in and out of traffic." The Aygo was initially on both sides of the pitch and then the second time round the team of five was pitched against its major competitor, the Volkswagen Fox, with some of Britain's current crop of Touring Car Championship drivers including Matt Neal, Tom Chilton, Tim Harvey and Robert Huff at the wheel. Unfortunately, the Aygos lost against the VW Fox, but that didn't stop the Aygo from becoming Top Gear's 2005 car of the year!After its time with Top Gear, 'Number 3' was then used for three-a-side matches in the 'MPH' live events before changing channel to become a back-up car for Fifth Gear's Loop-the-loop stunt. For this, the car was stripped of its glass, strengthened with extra plating, a roll cage and fitted with a fuel cell (as a measure against being engulfed by fire) which was removed post event having not gone upside down. The Aygo then disappeared into relative obscurity, residing in a private collection for a number of years before resurfacing this year.Needless to say, 'Number 3' has not run for a number of years due to having no fuel tank fitted and in its present state is not quite fit for road use, so is sold with a unique provenance as a genuine piece of motoring history that a future owner can choose what to do with. A genuinely iconic vehicle that will look fantastic in a private collection, the car is to be offered at No Reserve. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: YKE 415A Chassis No: 26868 MOT: May 2025Desirable Series II example, specified with five-speed ZF Gearbox, all round Dunlop disc brakes and later fitted with wire wheelsSubject to much previous cosmetic restoration workAccompanied by a large history file including documentation relating to the restoration and copies of the factory recordsLaunched in late 1958, the Alvis TD21 was stylistically indebted to a special-order Hermann Graber Coupe variant of its TC21/100 predecessor. Suitably reinterpreted for production by Park Ward, the newcomer's decidedly elegant coachwork sat atop a rigid box-section chassis equipped with independent coil-and-wishbone front suspension and a leaf-sprung back axle. Powered by a 2993cc OHV straight-six engine that was initially mated to a four-speed manual or Borg Warner three-speed automatic transmission, the four-seater boasted a 100mph-plus top speed. Featuring a polished wood fascia, leather upholstery, and pile carpets, the TD21 could be had in two-door Saloon or Drophead Coupe guises and was every bit as luxurious as its contemporaries. The Series II was launched in 1962 and benefitted from a number of upgrades. Cars specified with manual transmission were now to be outfitted with a five-speed ZF gearbox from October of that year and all cars were now panelled in aluminium with aluminium door frames for lightness. The brakes were also upgraded to all-round Dunlop disc brakes to aid stopping power. Visually, the previous externally mounted spot and fog lamps were now integrated within the front end air intakes which were now circular for a neater overall design and the reversing lamp was also given a makeover. In total, only 285 Series IIs were produced in both Saloon and Drophead forms before being replaced by the TE21 in late 1963.First registered on 19th June 1963 as 'VCL 400', chassis 26868 was first delivered to Boshiers of Norwich finished in Alice Blue with Light Blue Leather and Carpets. Little is known about the first private owner of the Alvis, however, there is correspondence on file that suggests known ownership from all the way back to 1972. Invoices on file describe an extensive overhaul of the body and interior in 1991 by SV Restorations of Lincolnshire, which is when the car was painted in Rolls Royce Exeter Blue and fitted with wire wheels, which is how the car presents today. The vendor, a gentleman who is an engineer by occupation and is the first to admit an addiction with ‘buying cars and owning them briefly to experience as many as possible’ purchased the car in 2023 to enjoy the summer in and has made some small improvements including tuning of the carburettors and resealing of the windows which were leaking when he purchased it. As per his mantra of moving them on after a short period of ownership to 'experience something else', this rare Series II TD21 is now offered for sale.Upon inspection, 'YKE 415A' appears to have been very well kept, with its 1991 paint either having been refreshed or kept in fine order. There are a small number of age-related chips and light scratches which the vendor believes could easily be removed. The interior presents in what the vendor describes as 'good' order with the woodwork appearing well lacquered and the front seats having been re-trimmed in good quality hide previously, with the rears appearing original. The car started easily upon inspection and appears to be fitted with electronic ignition and the vendor advises that he has recently stripped and cleaned the carburettors. The vendor told us that the 'car drives well' and that it feels taught, and we can confirm that the car produced a welcome rasp from the stainless-steel exhaust system that it is fitted with. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: UWR 7N Chassis No: 73061438L MOT: Exemptc.350 miles since an extensive restorationRestored with a new chassisDesriable 'S' 130/5 modelFinished in Roman Purple MetallicThe Elan 2 was revealed to the world in 1962 with a 1500cc engine and a four-speed gearbox in a small and stylish 2-seater roadster form. The Plus 2 (code-named M20) was introduced in 1967 and had arguably better proportions than the 'baby' Elan. In 1971 the +2S 130 was launched with the Lotus 'Twin Cam' engine, providing an improved 126bhp hence the “130” model suffix. It produced a maximum torque of 113lb/ft at 5,500 rpm, providing plenty of power to fully enjoy this lightweight and useable family sports car. The +2S 130 was an appreciable step up in quality with a raft of luxury fittings from quartz halogen fog lights to burr walnut facia and electric windows. In October 1972 the long-called for 5-speed gearboxes finally arrived as an option, to make cruising smoother, and the Lotus Elan +2S 130/5 became ‘the’ version to have.First registered with the DVLA on 1st August 1974, this ‘S’ 130/5 iteration of the Elan +2 Coupe is finished in Roman Purple Metallic (L21) with an Oatmeal interior. Displaying some 58,700 miles with three previous documented owners only, the car was previously restored in a ‘5 year, no expense spared, total rebuild’, completed in September 2020 at a recorded mileage of c.58,347. The body was stripped bare then sent off to the paint shop where it was taken back to the gel coat, any repairs made then sprayed in Roman Purple Metallic. Completing 350 miles since, it remains in ‘as built’ condition.Mechanically, the list of work is extensive. A new Lotus designed chassis was ordered with all additional stiffening as per the Lotus 26R design. The chassis was professionally cold zinc sprayed then sprayed in Grey. For additional protection the chassis was then given a final coat of POR 15 in Silver. The sill members were replaced with stainless steel box section items together with seat belt mounting points. The sill closing plates under the wheel arches were also replaced with stainless steel units.The front suspension was overhauled, wishbones powder coated, and new poly bushes fitted throughout. New TTR adjustable shocks and uprated springs were fitted with adjustable ride height, new bearings etc. The rear suspension was overhauled with new oval section 'A' frames from Spyder, poly bushes fitted, TTR adjustable shocks and uprated springs with adjustable ride height. The steering rack was inspected and a new solid U/J fitted. The steering column was repainted.The engine was overhauled by John Smurthwaite at 'JSMotorsport' to Q360 sport spec. The head was cleaned, tested, skimmed and ported. The head was then fitted with all new guides, seats, valves and followers, the head was fitted with Q360 cams, new bearings and shimmed. The cams were fitted with vernier sprockets. The engine was also built with a new block, new pistons, a reground crank and all new bearings; new chain, tensioners etc fitted; the sump has been baffled to eliminate oil surge; there was a new front cover (Burton design) with a removable water pump cartridge; new fuel pump, new high torque starter, distributor fully rebuilt by 'Distributor Doctor' and Luminition Optronic ignition fitted; new plug leads; twin Dellorto carbs stripped, professionally cleaned, rebuilt and re-jetted for Q360 spec.; stainless braided fuel pipes fitted; K&N filter fitted. There’s a new stainless steel exhaust; the back box was hand-made and is a copy of the 'Pico' box as fitted to the last of the +2s - it is also in stainless and reportedly sounds beautiful. The 5-speed Lotus gearbox fitted, was purchased, overhauled and then inspected at Alan Voight gearboxes, Birkenhead, before fitting. A new clutch has been fitted along with new thrust and spigot bearings, new slave and master clutch cylinders with stainless braided pipe. The differential unit was stripped, inspected, cleaned and rebuilt with new bearings and thrust washers. New TTR steel billet output shafts have been fitted, rubber donuts replaced with new Kelvedon twin U/J’s with sliding splines.The brake system has been fully overhauled, the front and rear calipers professionally rebuilt; fitted with new grooved discs, Greenstuff pads and new handbrake pads; copper brake tube throughout with stainless connections and stainless braided flexible hoses; a new master cylinder and professionally rebuilt servo; new handbrake cable and upgraded fully adjustable rear handbrake rods. The cooling system has a new TTR alloy full-width radiator and electric thermostatically controlled fan. All hoses are silicon and the system is filled via a Clive modified thermostat housing. The system is filled with waterless coolant.The vehicle has had a total rewire with all new harnesses; a new uprated alternator is fitted; new windscreen wiper motor and system; new relays; new headlamp solenoid; new headlamps; new side/indicator lamps; door window motors overhauled; rear lamp clusters and number plate lamps overhauled; all gauges stripped, cleaned, painted and fitted with new bezels and rubber seals. The new dash is fitted with a new set of switches. A period Philips Turnolock radio is fitted and a modern stereo unit is fitted in the glove box. The interior heater box was disassembled, powder-coated and reassembled with new seals and a new 2-speed motor. The petrol tank was stripped and cleaned and painted in Black POR 15 and new stainless straps fitted. The petrol tank has a modified breather system which uses a stainless braided hose linked into the filler neck. A single small diameter hose then loops over the cabin and exits under the car, alleviating any petrol smells.The interior is in a very original specification and in overall very good condition. A new dash has been fitted together with a new roof lining. The carpets are wool and were tailor-made to original spec and then edge-bound. A new pair of chrome coat hooks has been fitted.The body has been fitted with all-new badges; both bumpers and window frames have been re-chromed; a new lockable petrol filler, new door locks and handles; all new quarter-light rubbers and channels fitted together with side window rubber and felt seals; a new rear screen rubber seal and the front screen re-bonded with new Silver trim. Lastly, the Elan has been fitted with the Spyder 'Minilite'-style peg drive 14" x 6" alloy wheels shod with Dunlop 185 x 65 x 14 tyres. This gives the same rolling circumference as the original fitment and the speedo reads spot on.Accompanied by a current V5C Registration Document, this is an opportunity to own an Elan +2S with a recently completed extensive restoration. For more information, please contact: John Markey john.markey@handh.co.uk 01428 607899
Registration No: MXS 707 Chassis No: PB 0660 MOT: ExemptPowered by a supercharged single overhead camshaft 939cc engineRestored over a fifteen-year period during 2005 - 2020Recent expenditure of over £10,000 to improve the carOne of the rarest and most sought-after pre-war MGs, with just 526 PB-series cars producedEqually suited to 'fast road' or competition useA replacement for the successful J2 Midget, the PA followed the general lines of its predecessor, but was equipped with a more robust version of MG’s 847cc, four-cylinder, overhead-camshaft engine benefiting from a stronger, three-bearing crankshaft and better lubrication. Chassis alterations, many resulting from competition experience, included a longer wheelbase, strengthened transmission and 12”-diameter (up from 8”) brakes. Some 2,000 PAs were produced between 1934 and 1935 when the model was superseded by the relatively short-lived PB, of which a mere 526 were produced. As the final development of the classic ‘Midget’ line of MGs the PB differed in detail in several respects to its predecessor. Most important of these was the enlargement of the engine to 939cc giving both increased torque and power and a revised dashboard layout. As always with MG cars of this period the buyers were very much sporting minded and MG were keen to assist knowing that sporting success amongst their owners could only help sell cars.MG factory records show that chassis PB 0660 was completed on 18th December, 1935, and delivered to Morris International Exports for shipment to Germany two months later. The car’s fate on the Continent is unknown but at some stage it was repatriated. Acquired by its previous keeper in 2004 as a 'kit of parts' (comprising the original chassis frame, front and rear axles, a complete set of brakes, steering components, a rebuilt radiator, a rebuilt differential and sundry minor engine and gearbox parts) from the late Peter Green, long-time Chairman of the MG Car Club’s Triple-M Register and a renowned authority on all things 'Triple-M', he was also able to source a new engine block from Mr Green that has since been stamped with an augmented version of the original number (‘2’ being added after ‘888 APB’ to signify its status as a replacement). A lifetime VSCC member and prolific collector of all things Vintage, the previous owner set out to reconfigure chassis PB 0660 as a quick, lightweight road car with the potential for competition if required.Work commenced in October 2005 and was completed in the Spring of 2020. The chassis frame was in good condition and only needed shot-blasting and powder coating, as did the front and rear axles. The front axle was refurbished professionally by Mike Dowley of Sports and Vintage Motors with new king-pins and bushes. Mike Dowley also renovated the steering box with a new steering drop-arm as the original failed its crack-test. The two steering arms also failed their crack-test so were replaced by new ones. The track rods were in good condition and were fitted with new track rod ends and ball joints. The rear axle with the refurbished differential was fitted with new racing-grade hardened steel half shafts and new bearing carriers, bearings and seals. All four brake drums were skimmed and all the brake shoes were relined. The brake activating levers and cams were all in good condition and were fitted to the back plates with new return springs. New brake cables, hubs and seals were fitted all round. The axles are attached to the chassis with new road springs and shackles, and the car sits on four new 19in wire road wheels supplied by Motor Wheel Services, fitted with new Blockley 4.00-4.50 tyres. The spare wheel has been rebuilt by Phil Hallewell, and shod with a matching Blockley tyre.The engine was professionally refurbished by marque specialist Ken Robinson, using the aforementioned new block, a new solid steel Phoenix crank, new Carillo conrods and a new set of forged alloy Venolia pistons (supplied by Baynton Jones). A new correct-specification cylinder head was obtained from Mike Dowley and this was refurbished by Ken Robinson with a new sports cam, also from Baynton Jones and new valves and valve springs etc. An original flywheel was lightened, and then balanced together with the crank, rods and pistons - A new plate clutch was also fitted. The original 3-brush dynamo was replaced by a new 2-brush example, generally accepted as more reliable especially for night driving and a new lip seal has been fitted at the top of the vertical drive to replace the original one which was prone to leaking. A very good, used Volumex supercharger was sourced from Richard Hardy of 'Vintage MG Parts', who also supplied all the correct manifolds for it. A correct, new 2 ¼” SU/Burlen was supplied by Barry Walker and Ken Robinson restored the supercharger and keyed the gears onto the shafts for safety in case of blow-back from the engine. Mike Dowley supplied a new set of close-ratio gears which were built into an original PA gearbox casing which the previous owner already owned and he also supplied a new prop-shaft as the originals were in poor condition. 'S and V' supplied a new correct PB wiring loom and a set of instruments and gauges.The previous owner had decided he wanted an aluminium body with a pointed tail and obtained one from Ray Pettit of Compound Curvatures. These are made for the ‘Q’ Type replicas often fitted to early ‘T’ Type chassis (which are actually a few inches longer than the ‘P’ Type chassis). Alan Floyd of Classic Car Panel Repairs at Worksop was tasked with shortening the body to fit - he also made the bonnet, side valances, supercharger cover, seats, floorboards front and rear bulkheads, dashboard, both fuel tanks and sundry other brackets and fixings, plus the fuel lines.The result of the above is an attractive, very light open 2-seater with a powerful supercharged engine and a close-ratio gearbox. Because it was intended to be used on the road as well as on the track, it carries full road equipment, mudguards, lights, and a spare wheel. For the track, all of these items are very easily removed. The front mudguards together with the head and side lights can easily be removed as one item, and the spare wheel mounting bracket is secured by 5 bolts which are easily accessible. The rear mudguards are each secured by 2 small brackets bolted to the body.Offered with a large box file of receipts, certificates and endorsements from the Triple-M Register of the MG Car Club along with copies of factory build records, 'MXS 707' represents the final development of the classic overhead cam MG Midget; it embodies all the very best of the breed and is truly Safety Fast! For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: WSY 713 Chassis No: 111800475 MOT: T.B.AIn current ownership the last 28 yearsOffered with a great patina, and in what appears to be remarkably original conditionRetains its original engine and displaying just 70,975 miles on the odometerRover needed a stop-gap solution to the slow post-war sales of its pre-war designs. Chief Engineer Maurice Wilks' 'Land Rover' seemed to be the answer. His design was as much a tractor as a car. The centre-steer concept, built in the summer of 1947, had the steering wheel in the middle, mainly because Maurice had the farming community in mind when he was designing it. The car was put to work ploughing, and Maurice designed front and rear power take-offs to run belt-driven machinery. Rover quickly approved it for production, albeit without the central driving position, which proved impractical and costly to engineer. The steel box-section chassis with its aluminium body was actually designed to get around the post-war scarcity of steel and make use of the plentiful, war-surplus Birmabright aluminium. But it was also lightweight and rust-resistant, and the pioneering use of aluminium remains a feature of Land Rover vehicles to this day. A single paint colour was offered: light green.The 1595cc, 50Bhp four-cylinder Rover engine might seem under-powered today, but its 80lb-ft of torque was impressive. There was permanent four-wheel drive, leaf-sprung suspension and not much else for your £450 when it was launched at the Amsterdam Motor Show in April 1948. Any kind of extra equipment came at an additional cost, but the orders started to come in. The very first Land Rover registered was one of the Amsterdam Motor Show cars on 21st May 1948, and full production began at Solihull shortly after. Rover soon saw that the vehicle’s appeal went beyond expectations. In 1949 the British Army placed its first order. It wanted 1,878, so many, that the decision was made to paint all Land Rovers in the Army’s NATO Green and they saw their first action the following year, in the Korean War. The Red Cross ordered its first Land Rovers in 1954, and its relationship with the marque endures to this day.In 1954, Solihull made its 100,000th Land Rover and by the time the Series I was replaced in 1958, nearly 200,000 had been produced. With 70 per cent exported, the principles that Maurice Wilks first sketched in the sand at Red Wharf Bay in Anglesey had been put into practice across the world.First registered 11/12/1957 to a Military or government role, this Land Rover was sold into the civilian market in 1963 and registered under ‘AJB 621A’. Little is known of its early life, but in January 1984, the car was purchased by a Janet Martyn Ball, residing in Oxford. Ball would own the car for 2 years until 1986, when it would be passed to Benjamin Rutland Lincoln of Bristol. ‘AJB 621A’ was purchased by the late current owner on 10th December 1996. Frustrated by the fact the registration didn’t tie with the manufacture year of the car, the registration was replaced with ‘WSY 713’. The Land Rover was used sparingly on a farm, with the occasional shooting trip being most of its use. It was always dry stored and maintained as appropriate. In recent years, it benefited from a replacement Radford Bulkhead, but other than the one coat of paint it has at some point received, it appears remarkably original - retaining its original engine and major mechanical components. The odometer displays just 70,975 miles, which is warranted for at least the last thirty years and could well be correct.After the sad passing of its owner, but now displaying a lovely patina, giving it some great character, ‘WSY 713’ is offered for sale accompanied with a history file containing previous registration documents, MOT certificates dating back to the early nineties, the receipt of sale from its current ownership and much more. Recently serviced and to be offered with an MOT in preparation for sale, this wonderful Land Rover presents a great opportunity. For more information, please contact: Andreas Hicks andreas.hicks@handh.co.uk 07929363573
Registration No: PXS 775 Chassis No: 19896 MOT: ExemptOverhauled engine, gearbox, transfer box and axlesBoasts its original body tub, chassis, and combat wheelsUsed in current registered ownership for events and showsRestored in British coloursArguably more iconic than a Sherman Tank or P-51 Mustang, the Jeep is for many the definitive WW2 vehicle; a workhorse of the US and Allied forces during WW2 and kept in service all around the world for decades afterwards. Born out of the American Quartermaster Corps' 1940 invitation to submit a prototype go-anywhere four-wheel drive light reconnaissance vehicle which led to a three-way competition between Bantam, Willys-Overland, and Ford, the winning design's simple but effective chassis, ingenious transmission, rugged suspension, and flathead Go-Devil 60hp 2.2-litre `four' proved invaluable for hauling troops out of trouble. While, this self same combination ensures that the indomitable Jeep remains great fun to drive today. About 650,000 MB types were built between 1941 and 1945, by Willys and (in greater numbers) by Ford, and manufacture continued under licence in the '50s and '60s by Hotchkiss for the French army. Finding a Jeep still retaining all its original components is rare because, after WW2, many Jeeps were rebuilt on a ‘mix and match' basis, meaning it is common to find components from all three makers combined in one vehicle.Manufactured in 1942, chassis ‘19896’ is offered in fully restored condition finished as a British Jeep in wartime Mickey Mouse guise. According to wartime literature, usually all upper surfaces were painted black in this camouflage, though this wasn't always adhered to, with the paint often just slapped on. During the restoration, the engine, gearbox, transfer box, and axles were all overhauled, with ‘PXS 775’ has been kept as original as possible, and is still boasting its original chassis, body tub, and combat rims. Shod with new tyres all round, the GPW pleasingly has many genuine ‘F’ (Ford) stamped parts. Used in current registered ownership for events and shows. The vendor rates the Jeep as ‘excellent’ in regard to engine, gearbox, and electrical equipment, and as having ‘very good’ bodywork, paintwork, and interior trim. A very usable Jeep that, we feel, is sensibly guided. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: D-657-MAN (Isle of Man) Chassis No: GHN3/75314 MOT: Exempt‘Works replica’ for use in long distance ralliesHeritage shell with aluminium bonnet, boot lid and door skinsFord Mk9 5-speed gearbox, side exit exhaust etc,Reshelled in the early 2000s with a Heritage shell converted to MkI specification the car was acquired by the vendor in 2010. In 2017 he decided to create a ‘works replica’ for use in long distance European rallies. Sadly, ill health means the time has come to sell. Apart from track days on Southern French circuits, it has not been driven in anger.Finished in Tartan Red and White, the impressive specification includes; aluminium bonnet (louvred and strengthened), an aluminium boot-lid and door skins, fibre glass front and rear valances, acrylic side windows, light weight hardtop, nylatron main bushes, lowered springs and dampers, solid mount front anti-roll bar, custom rear anti-tramp bars and overhauled steering rack. Front calipers, rear cylinders and all brake lines were renewed and grooved drilled front discs fitted with uprated pads and shoes. The brake hoses are aero-quip with copper brake pipes. The 1845cc engine was overhauled using new pistons, a twin chain vernier timing set, lightened tappets, double valve spring and alloy caps and tubular push rods. The heavy-duty clutch is coupled to a Ford Mk9 5-speed gearbox and the engine breathes via a new set of SU carbs on a new inlet manifold and ported cylinder head. An LCB big bore exhaust manifold connects to a side exhaust with removable baffle. A large stainless fuel tank feeds through boot-mounted twin pumps. Other features include alloy radiator, catch tank, twin coils etc. The vendor advises the engine still requires tuning. The interior sports a 6-point FIA roll cage and safety harnesses. There is a plumbed-in fire system, whilst the fuel, brake pipes, fire system and loom all feed through the interior. Refurbished early MGB leather seats have matching custom head restraints bolted to the cage. The dash features STACK oil pressure and water temperature gauges and dual access to switches, wipers, horn and an engine cut-out for the co-driver. Please Note: Currently registered in the Isle of Man, the car would need to be registering with the DVLA for UK use. For more information, please contact: John Markey john.markey@handh.co.uk 01428 607899
Registration No: HSV 588 Chassis No: 4210 MOT: ExemptCurrent registered ownership since 1999 with just one previous keeper recordedVery original exampleAn older restoration that still presents wellIconic British Army military vehicleAfter the success of America’s Jeep in the Second World War, the British Army was eager to have a multi-purpose light truck of its own. In spite of competition from the Nuffield Organisation, Austin was awarded the contract to build 15,000 vehicles from a former aircraft factory at Cofton Hackett, on the outskirts of the Longbridge works, which was specially adapted for the purpose. Built from 1951 to 1957, Champs were quite unlike anything Austin had attempted previously. A four-wheel-drive quarter-ton truck, it utilised the straight-four, 2838cc Rolls-Royce B40 engine. The Rolls-Royce B-series engines were developed specially for use in British Army vehicles and, in their various guises, also powered the Daimler Ferret, Humber Pig and six-wheeled Alvis’. Although a civilian version of the Champ was offered, the vast majority were built for military use. Champ was actually the civilian name; officially the military version was the less catchy ‘Truck, ¼ Ton, 4x4, CT, Austin MkI’. Of the military vehicles, almost all were used as either basic cargo trucks or wireless vehicles.Manufactured in 1953, chassis ‘4210’ is an older restoration finished in Deep Bronze Green paintwork with Green interior upholstery. Residing in current registered ownership for the past twenty-five years (since 1999), the Champ is showing just one former keeper on HPI. Barn-stored for the past few years, the vendor informs that ‘HSV 588 is now running and driving well, and further notes that the brakes have been recently overhauled. A very original example, ‘4210’ is rated in regards to bodywork, paintwork, engine, gearbox, and electrical equipment as ‘very good’ by the vendor, while the vendor rates the interior trim as ‘excellent’. Supplied with a history file, this is a nicely restored example of the iconic British Army Champ. For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452
Registration No: WAU 91 Chassis No: D95166 MOT: ExemptOnly 41,000 recorded and credible miles on the odometerRecent bodywork and paintwork restorationOffered with the buff logbook and a collection of previous MOT certificatesPleasingly retaining its original and transferable registration number ‘WAU 91’A replacement for the now outmoded Consort, the Conquest first saw the light of day in the Spring of 1953. The newcomer's chassis and running gear were direct developments of those underpinning the Lanchester 14 and included a cruciform chassis suspended by double wishbones and laminated torsion bars at the front, and conventional leaf springs at the rear. Braking was by Girling hydro/mechanical drums and steering by cam and peg. Power came from a straight-six engine of 2433cc that produced some 75bhp. From 1954, a more potent version of the car known as the Conquest Century became available. Courtesy of a big-valve alloy cylinder head, twin SU carburetters, higher compression, and high-lift camshaft, Daimler managed to hike the output to 100bhp - sufficient to accelerate the 3,117 lb car to 60mph in 16.3 seconds and on to a terminal speed of 90mph. This proved to be the most popular of the two Saloon variants, with 4,818 examples eventually made as opposed to 4,568 of the lesser powered car.Manufactured in 1955, the Conquest Century offered was first registered on the 7th of December that year. Finished in two-tone Black and Silver Green paintwork, complemented by a Cream leather interior upholstery, it is pleasingly believed to retain the majority of its original interior. Supplied new to Meridian Ltd. of Haydn Road, Nottingham, a famous company in the East Midlands knitting industry, and a business by which time was known for its commitment to good working conditions, with the site including a heated indoor swimming pool, bowling greens, tennis courts, and a hockey pitch, all for the use of the employees, so it is interesting envisaging the Daimler’s role within the company. After six years of ownership, the Daimler was passed to Ernest Bignall Esq., also of Nottingham before passing to two further owners, both out of the Nottingham area into the 1970s.Purchased by the vendor earlier this year, ‘WAU 91’ was running and driving but required exterior cosmetic improvement. Thereafter the Daimler was provided with a bodywork restoration and a full repaint. Offered now showing just 41,000 recorded and believed genuine miles on the odometer, the vendor notes that the Daimler has trafficators that are in functioning order (as well as modern indicators added), good tyres, and recent new exhaust. The spare wheel, and original tool roll, grease gun, and jack are all present, and the brakes have been recently overhauled. Pleasingly retaining its original and transferable registration number ‘WAU 91’, the Conquest Century is offered with a history file that contains previous MOTs, the buff logbook, a selection of invoices, previous V5s, service manual, and a current V5C document. Temptingly for sale without reserve.
Registration No: BKE 213 Chassis No: 6025879 MOT: ExemptRebodied as a handsome 'Ulster-Imp' style special in the 2010sVSCC EligibleOverhauled and uprated mechanical components for a competitive Hillclimb / Sprint carHuge history file detailing all build bills & continuation buff logbook on fileIt is no exaggeration to say that the appearance of the 1100cc 9hp Riley at the Olympia Show October 1926 revolutionised concepts of light car design - its lower build, outstanding handling and good brakes, the products of careful detail design, were matched by the strong, light and advanced engine, which developed remarkable power for its modest size, and began a chain of development that continued until well after WWII and also spawned the E.R.A. racing voiturettes, the most successful British racing cars of their time. Breathing efficiently through hemispherical combustion chambers and 45-degree overhead valves opened by short pushrods from twin high-set camshafts, the unit simply wanted to rev, and permitted a lowish rear axle ratio that in turn gave good acceleration. The 4-speed gearbox was a joy to use. Apart from a handful of obscure, low-volume specialised sports cars, no other light car produced in similar quantities offered anything comparable.Built in 1934 as a Riley 9hp Lynx, 'BKE 213' was first registered on the 4th of May 1934. Little is known of the car's history until 1953, when the buff logbook on file states a Mr Marfit of Otley, Yorkshire owning the car. The Riley was owned by two further custodians until 1962, when a Mr Colclough purchased the car having wanted to attend events run by the now budding VSCC which was very much in vogue during the 1960s. In a poor state of repair, the body was removed and scrapped and the chassis and engine were kept for a rainy day with Mr Colclough envisioning a full-blown "Ulster-Imp" style special body being built upon the bones at some point in the future. Unfortunately, Mr Colclough never achieved his dream due to terminal illness, however, he was able to pass his vision on to the now owner in 2009 before he passed away. Some five years later, the current owner set about fully overhauling the mechanical components and chassis and commissioned a bespoke body from Brooklands Bodycraft to suit the car and match the sketches of what Mr Colclough has envisioned. The vendor's intention was to create a competitive hillclimb car which was VSCC eligible, so the engine was highly uprated with upgraded pistons, crankshaft and camshaft mated to a fully overhauled gearbox. The owner, who is a skilled engineer is his own right, assembled the components of the car in his extensive workshop over the course of the next few years. What emerged was this stunning looking boat-tailed special that is reminiscent of all the great pre-war racing Rileys that are oh-so desirable today.In 2019, the car was entered into the VSCC hillclimb at Prescott and in 2022 at Curborough where the vendor found it very competitive. However, a number of other vehicles have taken the interest of the vendor who explained that he is 'more of a tinkerer than a driver' and wishes to fund other projects, so this great Riley has been made available for sale.Now offered in what the vendor describes as an 'excellent' all-around condition, this a fantastic opportunity for any budding pre-war speed freak to get into racing Rileys without the outlay of the genuine 'Brooklands' or 'Ulster-Imp' period cars. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: EGJ 124J Chassis No: P1R35884 MOT: ExemptSubject to an extensive restoration with in excess of £20,000 in parts alone1 of just 1,040 RHD home-market examplesInterior trimming in Black Leather plus headlining and panels from Aldridge TrimmingFitted with a high-torque starter, adjustable shock absorbers and upgraded handbrake linkageSubstantial history file and photographic record of the restorationTriumphantly unveiled at the 1961 Geneva Motor Show, the Jaguar E-Type created a furore thanks to its supercar performance, stunning looks and modest price tag. Early racing success at the hands of Graham Hill and Roy Salvadori amongst others helped cement the newcomer's reputation. Built as a monocoque with an engine-cradling front sub-frame, the E-Type's combination of all-round independent suspension and disc brakes allied to rack-and-pinion steering resulted in excellent road-holding and handling capabilities. Introduced in 1968, the Series II cars were distinguishable by their revised bumper and light arrangements. Less noticeable was the increased size of the front air intake that in conjunction with dual cooling fans made the Series II better behaved in hot weather and heavy traffic. With its 4235cc engine developing a quoted 265bhp and 283lbft of torque, it was reputedly capable of nearly 150mph and 0-60mph in 7.5 seconds. The range expanded with a 2+2 derivative joining the Coupe and Roadster and evolved through steady stages until the final Series 3 V12s bowed out in 1975.1 of just 1,040 RHD home-market examples built, this 1970 2+2, in Opalescent Silver Blue, has benefitted from a 'full' bare metal restoration. The odometer has been re-set post-restoration, so it now reads very few miles; prior to the restoration 'EGJ 124J' had covered some 98,000 miles. There was in excess of £20,000 in parts alone. The restoration included new wheels and tyres, interior trimming in Black Leather, headlining and panels from Aldridge Trimming and a double tinted windscreen, no longer available off the shelf or elsewhere, however, in this case it was custom-made by Pilkington. Some of the upgrades have included a high-torque starter, adjustable shock absorbers and an upgraded handbrake linkage. In the main, mechanical parts were sourced from SNG Barratt. There is a substantial history file with the car, pre and post-restoration, which includes a photographic record of the aforementioned restoration and a current V5c document is also included in the sale. A reluctant sale due to ill health. For more information, please contact: James McWilliam james.mcwilliam@handh.co.uk 07943 584760
Registration No: JGU 48C Chassis No: J661E31288 MOT: Exempt1965 Series 1, 4.2 E-Type Coupe, offered in Primrose YellowImported in 1989, professionally converted to right-hand driveOwned by the same family from 1997 until 2023Fully rebuilt differential at a cost of £7000.00 in 2016Among the last century's great motoring icons, Jaguar's E-Type has always inspired loyalty and devotion. Born out of the fabulous D-Type racer, the model soon acquired a strong competition heritage of its own. Launched at the 1961 Geneva Salon, the ‘Big Cat’ proved faster and more glamorous than virtually any production rival, its Malcolm Sayer-penned lines thought by many to be among the most striking ever to adorn a motorcar. Certainly, few could match its reputed 150mph top speed. At a time when Ferrari's lauded 250SWB and 250GTO ‘made-do’ with 'live' rear axles, the E-Type utilised a sophisticated independent rear set-up with inboard disc brakes, whilst rack and pinion steering enhanced the monocoque chassis' excellent road-holding and handling; putting it light years ahead of American designs like the Corvette. Revised in 1964, the E-Type gained a torquier 4235cc powerplant and four-speed all-synchromesh gearbox of Jaguar's own design. The last E-Type Jaguar rolled off the production line in 1974, yet the model still has a unique ability to excite enthusiasts of all generations.According to an accompanying letter from its manufacturer, chassis 1E31288 was completed on 28th June 1965 and shipped to Jaguar Cars of New York. Equipped with the torquier 4.2 litre engine and preferred all-synchromesh four-speed manual gearbox, the two-seater was repatriated during 1989. Professionally converted to right-hand drive thereafter, the E-Type was registered to members of the same family for twenty-six years. Understood to retain its original ‘matching numbers’ cylinder block, the Jaguar was extensively restored some ten years ago being refinished in the fetching combination of Primrose Yellow with Black leather upholstery. Displaying a credible but unwarranted c.74,500 miles to its odometer, only 1,500 of those have been accrued since the differential / rear subframe was refurbished at a cost of £7,000 in 2016.Subject to a large amount of works in recent times including regular servicing, ‘JGU 48C’ is described by the vendor as being in ‘excellent’ condition with regards to its engine, gearbox, electrical equipment, interior trim and bodywork. He further informs us that: ‘The car is rust free and the paintwork is very good. The engine compartment is pristine as is the interior with no rips and tears to the leather and a blemish free headlining. The instruments are all in working order -including the all important oil pressure maintaining over 40 ib/ft even at idle - and the E-Type drives very well indeed’. Having purchased the car from at our Duxford auction in March 2023, the vendor decided to have renowned specialists, E-Type UK realign the doors for better fit which has made the car much more presentable. This fabulous E-Type is now offered for sale with the V5C registration document, Browns Lane (Jaguar) letter and a large stack of invoices relating to work performed on the car. For more information, please contact: Lucas Gomersall lucas.gomersall@handh.co.uk 07484 082430
Registration No: T.B.A. Chassis No: SRH22355 MOT: May 2025Finished in the classically elegant combination of Shell Grey with Red leather upholsteryDelightfully original interior which leads the vendor to believe that the current odometer reading of 38,000 miles might conceivably represent the total covered from newRecently recommissioned following a period of dry storage as part of a private collectionDesirable 'flared wheelarch' model designed to ride on radial tyresLaunched in 1965, the Rolls-Royce Silver Shadow was a bold departure for the Crewe company. Their first monocoque design, it also benefited from olio-pneumatic rear suspension, power disc brakes and GM's silken 400 series automatic gearbox (though, the latter was not adopted until 1968). Such 'new technology' did not encroach on the luxurious interior with its sumptuous leather hides, rich wood veneers and deep lambswool carpets. Performance from the smooth 6230cc V8 engine (upgraded to 6750cc in 1970) was assured, the car wafting forward on a seemingly unstoppable wave of torque. Still immensely cosseting to drive, Shadows offer a genuinely different ownership experience to their mass made peers.According to its accompanying RREC copy build records, chassis SRH22355 was originally ordered in Silver Mink with a Surf Blue interior and destined for Australia. Reallocated to the home market and finished in the classically elegant combination of Shell Grey with Deep Red leather upholstery and Light Grey headlining / carpets, the Rolls-Royce was supplied new to Jersey-based businessman A. Harrison Esq. for the princely sum of £12,053.89 on August 18th 1975. Specified with Sundym glass all round, Avon radial tyres and a Blue Spot Frankfurt stereo (which pleasingly remains in situ alongside the period Pioneer Eight-Track player), the Silver Shadow returned to the mainland during late 1982. Citing the comparative lack of wear to the cabin and condition of the pedal rubbers etc, the vendor considers that the current odometer reading of 38,000 miles could well represent the total covered from new. Dry stored for a dozen years or so as part of a Rolls-Royce and Bentley collection, chassis SRH 22355 has recently been recommissioned and possesses a current MOT certificate valid until May 2025. Starting readily and running well when photographed, the luxury saloon is understood to have covered some 4-500 trouble free miles since returning to the road. Offered for sale with V5C Registration Document and history file.PLEASE NOTE: The registration number in the photos has been placed on retention and does not form part of the sale. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
Registration No: VH 2502 Chassis No: GVO15 MOT: ExemptEntered from a large, private collection in which it has resided since 1991Notably late 20hp with a beautifully appointed interiorWell proportioned six-light coachworkEngine overhauled during the current ownershipFeatured in 'Downton Abbey' and 'Mr Selfridge'Intended to broaden the marque's reach beyond the fabulously rich to the merely very wealthy, the Rolls-Royce 20hp was introduced in 1922. A more radical design than its illustrious 40/50hp Silver Ghost sibling, the newcomer was based around a 10ft 9in wheelbase ladder-frame chassis equipped with all-round semi-elliptic leaf-sprung suspension, rear-wheel brakes and fully floating 'Hotchkiss Drive' back axle. The first Rolls-Royce engine to feature overhead valvegear, its 3127cc straight-six was designed to run at anywhere between 150rpm and 3,500rpm. Priced at £1,100 in bare chassis guise, the 20HP was not only less expensive than the Silver Ghost but also lighter and more responsive to drive too. Progressively updated with a four-speed manual gearbox and all-wheel braking, the 'baby' Rolls remained in production until 1929 by which time some 2,940 are thought to have been made.According to information kindly supplied by leading Rolls-Royce historian and author John Fasal Esq, chassis GVO15 was taken off test at the Derby Works on 23rd July 1929 and despatched to Messrs Rippon Bros where it was clothed as a Six-Light Saloon. Sold new to H.P. Nelson Esq. of Dawndon House, Spring Hill, Nelson, Lancashire, it was the second 20hp he had taken delivery of in as many years (his 1928 acquisition being a Barker Cabriolet). Notably well-appointed, the Six Light Saloon is a testament to Rippon Bros’ craftsmanship featuring an ingenious ‘parallelogram’ sunroof, external tinted Auster sun visor, quick drop driver’s window, occasional bench seat, rear luggage grid, privacy blinds, individual door locks and metal-edged running boards etc. First registered in Huddersfield (or so its original ‘VH 2502’ number plate would imply), the Rolls-Royce had migrated to North Wales by the late 1980s. The subject of much restoration work prior to entering the current family ownership in 1991, the paintwork is no longer perfect but the doors line up well and open and close with ease. Most of the leather upholstery has been renewed over time but the headlining and numerous other fittings and fixtures are pleasingly thought to be those installed by Rippon Bros. Treated to a thorough overhaul by the vendor’s late father, the factory-fitted engine (number E7Z) started readily and ran well during our recent photography session. Forming part of a large private collection for the past thirty-three years, ‘VH 2502’ has paid its way by appearing in the hit television series Mr Selfridge and Downton Abbey. A notably late and handsome 20hp, chassis GVO15 is offered for sale with V5C Registration Document and sundry paperwork. For more information, please contact: Damian Jones damian.jones@handh.co.uk 07855 493737
dating: Early 19th Century provenance: London, Round, smoothbore, turn-off, 11 mm cal barrels with section becoming smaller towards the nozzle, the base of one barrel marked '1' and with the marks 'V' and 'P' under crown. Box-lock type frames engraved with floral motifs and signed 'THOMAS' and 'LONDON', upper hammer with safety lock. Trigger guard engraved with flower and trigger guard. Wooden butts. In a wooden case lined in light brown velvet and provided with tools. With key. length 17.5 cm.
dating: Early 19th Century provenance: Kingdom fo Italy (Napoleonic), Straight, single-and third- edged blade, with fuller up to the beginning of the false edge, with remains of light-blue finishing at the forte, featuring small engraving depicting racemes with remains of gilding. Brass, Empire-style hilt with remains if silver-plating. A flaming grenade on the shell-guard. The guard decorated with architectural motifs (probably a small reparation in the curved part). The pommel featuring a five-pointed crown on one side in relied, and another star on the opposite side. Knurled ebony handle. Without scabbard. length 94,3 cm.
dating: Mid 19th Century provenance: Balkans, Round, smoothbore barrel with light carvings and damask structure, roundly bell-mouthed nozzle. Flat, curved tang. Flintlock. Full wooden stock richly decorated with walrus tusk and horn inlays, and brass rosettes. Typical pointed and round trigger. Silver, pierced, engraved and nieloed barrel bracket. Rare. length 38.5 cm.
dating: 1852 provenance: Austria, Round, 18.1 mm cal barrel with octagonal base with rib, bore with twelve rifling, marked 'FERD. FRUWIRTH' at the base, foldaway rear sight with a range from 150 to 700 feet (approx. 112 - 525 mm), front sight. Lock with Augustin system dated '852' and with imperial mark. Full stock made of fine light wood, marked 'F.F. 1852' under the butt. Original iron mounts and ramrod. Very rare. See another rifle of this kind at the Heeresgeschichtliches Museum in Vienna with collection number NI39473. length 112.5 cm.
dating: early 20th Century provenance: Europe, Short, straight, single-edged blade (light pitting). Light cow horn grip, provided with release button. Stick-shaped scabbard with black canvas umbrella (well preserved, with small missing parts). Metal shoe. Total length when closed: 90.5 cm. Rare. length 48,3 cm.
dating: 1910 - 1940 circa provenance: Korea, Almost straight blade with light signs of use and time. Copper ring nut at the base (open on one side). Four-lobed iron quillon featuring remains of embossed markings in ideograms. Wooden grip with fish skin and leather covering. Wooden scabbard with leather covering and a brass lug. Given the similarities with Japanese military blades, it might be a sword from the period of the Japanese occupation. Like all the Korean swords, it is extremely rare. length 73,5 cm.
dating: 1856 provenance: Austria, Round, rifled, 14.4 mm cal barrel (bore with light pitting and visible rifling), octagonal breech featuring remains of markings, fixed rear sight, front sight. Forward spring lock marked '856' and with imperial markings, one-snap working mechanism. Wooden full stock. Iron mounts, most of them marked '33'. Iron ramrod with brass ring marked '33'. Complete with a socket bayonet featuring various markings, including '48. 8. 36.' length 104.5 cm.
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.
dating: About 1940 provenance: Kingdom of Italy, German silver skull with gilded mounts, brass crest with beautiful gilding, crest shaped as a lion's head with black horsehair tail, olive with crowned Savoy shield, rays surmounted by an eagle with silvered crown, charged with the monogram VE III (Victor Emmanuel III 1900-1946). Typical scaled chin-strap with round cheek-pieces featuring a star, cotton tricolour cockade and original red and white plume. Visors inside, covered in red Moroccan leather, light leather sweat-band worked in segments. Typical craftsmanship by Ernesto Capriolo, the chief armorer of the Cuirassers Regiment. height 32 cm.
dating: 18th Century provenance: Austria, Octagonal, rifled, 13 mm cal barrel, with iron rear sight and brass foresight. Sliding pan cover. Slightly-sculpted, wooden full stock with horn fore-end cap. The left side of butt with compass rose made of light and dark horn. Patchbox. Smooth brass mounts. Horn-tipped, wooden ramrod. length 113 cm.
dating: Third quarter of the 19th Century provenance: Liege, Rifled, round, 9,5 mm cal. barrel (clean bore, visible rifling), with octagonal base marked 'BF' under crown, 'B', 'P' and numbered '907', foresight; long, smooth tang; forward spring lock signed 'BEURET FRERES LIEGE' and marked 'BF' under crown; full stock made of light wood and iron mounts and ramrod. Probably never used. length 132 cm.
dating: Third quarter of the 19th Century provenance: Kingdom of Italy, Rifled, cylindrical, 11 mm cal. barrel (bore with light pitting, clearly visible rifling), with foresight. Smooth, six-shot cylinder. Smooth frame with marks 'G. GLISENTI BRESCIA', 'ACCIAJO FUSO' and 'GG'. Loading gate and extractor. Wooden grip scales. Faceted butt-plate with ring for the strap. Serial number '13xx'. Working mechanism. Revolvers of this type produced by Lefaucheux were purchased privately by Italian officers. Later, the Glisenti company of Brescia began to produce its own version. See the relevant file (pp. 90-93) in L. Salvatici 'Pistole Militari Italiane', Ed. Olimpia. length 30 cm.
dating: 1862 provenance: USA, Round, rifled, 6-1/2', 36 cal barrel (light pitting inside, visible rifling) with standard dorsal marking, browned front sight. Matching serial number on the frame, the wedge with abbreviated matching serial number. Half-fluted and rebated five-shot cylinder, with remains of the patent marking. Working mechanism. Frame marked 'COLTS PATENT', with serial number '11xxx'. Brass grip bands both with matching numbering. Handle with remains of silver plating. Remains (approx. 20%) of browning on barrel and cylinder, the frame with small remains of casehardening. Some pitting. Smooth walnut handle. After the Civil War, a significant number of Police 1862 revolvers were converted to use metallic cartridges, thereby increasing the rarity of unaltered specimens. Refer to Flayderman's Guide, 9th Edition, page 96, 5B-105. length 29,5 cm.
dating: 1878 provenance: USA, Round, rifled barrel, provided with front sight and adjustable rear sight without slide, marked with the company address, with 'KING'S IMPROVEMENT' and with patents up to 1860, mark of the caliber '22 CAL'. Bore with light pitting especially at the nozzle and visible rifling. frame with upper tang featuring model mark, lower tang with serial number '223xxx B'. Brass elevator block (problems with lifting it), marked '22 CAL SHORT'. Working mechanism. Smooth, walnut butt and fore-end. Iron mounts. Smooth butt plate without gate. Beautiful, non-recent re-bluing. length 110 cm.
dating: Early 19th Century provenance: Southern Italy, Large, single-and false-edged blade, with light fuller under the back, finely etched with floral motifs on an opaque ground the first part. Small, 'S'-shaped, iron quillon. Looped horn handle (small missing parts) with brass wire binding, ring nut engraved with leaves, brass pommel shaped as a boar's head. Leather scabbard with brass mounts decorated with floral motifs. length 51.2 cm.
dating: 1858 - 1861 provenance: USA, Octagonal, rifled, approx. 5-1/4', 31 cal barrel (light pitting inside, visible rifling, a defect at the nozzle) provided with conical front sight, marked 'THE UNION ARMS CO.'. Five-shot cylinder with fuller. Serial number '51xx' with star on the frame, the barrel and the cartridge rammer with partial, matching serial number, different numbers (possibly assembly numbers) inside the grip. Working mechanism. Walnut grips. Some parts with remains of antique bluing. Model with flat backstrap, with the Union Arms marking and grooved cylinder. With these features, it is considered as fourth type and was produced in approximately 1000 units. For further details, refer to Flayderman's Guide, 9th Edition, pages 360-361, entry 7A-047. length 25,3 cm.
dating: 1886 provenance: USA, Round, rifled barrel (visible rifling, light pitting inside), featuring mark of the company and patents up to 1887, provided with foresight and adjustable rear sight, mar of the calibre '44 Cal.'on the back. Working mechanism. Wooden butt and fore-end, the latter is also knurled. Some browned elements. Serial number '50xxx' in the lower tang. length 109,5 cm.
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