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Los 77
ROBERTSONS JAM VINTAGE SCOUT ADVERTISING BADGE A very scarce original circa 1950's period 'Robertson's scout promotional badge', this example with rare DARK brown bush hat, light blue coat and white waistcoat with advertising slogan 'Golden Shred', the reverse impressed with maker's details 'H.W.Miller Ltd B'Ham.18'. Good condition
Los 87
ROBERTSONS JAM VINTAGE GUITARIST BADGE A scarce original circa 1965 'Robertson's guitarist badge', wearing a white waistcoat, light blue coat and displaying the advertising slogan 'Golden Shred', the reverse impressed with maker's details 'R E V Gomm Frederick Street B'Ham 1965 Good condition, complete with original pin fittings
Los 124
Ca. 100-300 AD A cast bronze statuette of nude Apollo. He is standing with the weight on his left leg. His right hand is raised, while the left hand rests on his hip. Apollo - son of Zeus and Leto, twin brother of Artemis. He was born on the island of Delos. Considered the god of beauty, light, music, fortune-telling, patron of art and poetry, and guide of muses. Item comes with a professional historical report from Ancient Report Specialists. Size: L:65mm / W:35mm ; 50g Provenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1980s.
Los 212
Ca. 100-300 AD A necklace of Ancient rock crystal and barrel-shaped glass beads. It is striking and in wearable condition. Light aqua rock crystal beads are alternated with deep burgundy/black, barrel-shaped glass spacers. This necklace was professionally restrung on a modern thread and has a screw clasp. Size: L:225mm / W:40mm ; 93.29g Provenance: Property of a London Art gallery; formerly acquired on the US Art market; previously in US collection I. G. formed before 1970.
Los 62
Eastern Mediterranean, Ca. 1-200 AD A large pattern molded blown yellow-green glass bottle having a tapered bulbous body with a tight swirl pattern, long tapered neck. General light areas of iridescence surface patina. Intact. Size: L:205mm / W:120mm ; 150g Provenance: NYC collection, ex. Fortuna Fine Arts, NYC.
Los 65
Ca. 100-300 AD A splendid glass jug with a concave base with pontil scar, six sides on the body, each lovely decorated, a cylindrical neck with everted lip, and a folded handle connecting the lip to the shoulder. Roman glass expanded upon Hellenistic techniques with the arrival of glass blowing in the 1st century, popularising the material and allowing the manufacture of vessels that looked ethereal, then and now, with swirling colours that catch the light magnificently. Size: L:140mm / W:85mm ; 75g Provenance: Property of a London Ancient Art gallery; previously acquired on the UK art market.
Los 72
Eastern Mediterranean, Ca. 1-100 AD A light clear bluish-green color glass juglet, having a thin ribbon type handle with a loop rigaree at the top. Slightly tapered bulbous body. Overall interior surface encrustation. Intact, excellent condition. Size: L:130mm / W:80mm ; 35g Provenance: NYC collection, formerly acquired on the US art market.
Los 23
Antonio Molinari was the son of the painter Giovanni Molinari and learned from the well-known representative of tenebrism - Antonio Zanchi (1631-1722). In the Collegio dei pittori, an association of painters in Venice, he held the position of consigliere in 1682, and in 1699 the position of sindaco. In 1771, Anton Maria Zanetti called him "a vigorous and original genius" (Della Pittura Veneziana, Venezia 1771, libro V, p. 407: "Genio vigoroso ed originale"). The famous Giovanni Battista Piazzetta (1682–1754) was Molinari's pupil, and was influenced by his style of tenebrism.The light in this painting mainly emphasizes the light skin of the main characters. The emphasized realism of his teacher Zanchi gave way to a harmoniously rhythmic composition of figures, which is also filled with psychological intensity. The description focuses on the handing over of the basket with Moses to Pharaoh's maidservant daughter. She looks at the child with concern and leans forward to reach the basket. The small child stretches his arms and kicks his feet. His body is highlighted by a white fabric that shines brightly among the muted tones of the women's clothing, which together form a color harmony. A surprised boy runs into the scene from the right.According to Dario Succi, it is a mature work that can be dated to the last decade of the 17th century. It is an important testimony to the development of Molinari's style in the transitional phase of the Venetian Baroque from the seicent, to the settecent.Expert opinion by Dario Succi.Oil on canvas124 x 173.5 cm
Los 58
Under a wooded low slope, a path with two visible tracks leads towards the center of the picture to a distant village. Old trees with many branches and delicate narrow leaves are detailed in many different tones; from yellow-green to dark green. In the lower left corner is a small body of water, into which water flows through a wooden pipe. Behind it are tree trunks, which can also be found in the lower right. An atmospheric painting with many differentiated color tones under a high, light blue sky, with white-gray cloud formations. Oil on wooden panel. Size 46 x 54 cm. In a gilded frame.
Los 31
The Virgin Mary and Saint Joseph are depicted as the caring parents of the baby Jesus, who sleeps soundly in his mother's arms. Saint John the Baptist, with a lamb and two putti, looks devotedly and curiously at the baby Jesus. Mary gently makes sure the baby doesn't wake up, and puts her index finger to her mouth to keep the group quiet.A mountainous landscape opens up in the background to the left, and another group of cherubs emerges from light-filled clouds in the upper right.Figures with fine features are represented in profile, or in three-quarter profile. Oil on canvas57 x 50 cm
Los 72
In a wooded landscape, a small blond child in a shiny white robe lies on a red and blue sheet, placed on a wooden cross. The sleeping child, with slightly open mouth and closed eyes, appears to be dreaming. Above him hover numerous putti with small wings, looking down upon the child. However, one of them, on the upper left edge, turns to the sky, from which a beam of light falls on the child. It is only at second glance that a crown of thorns is recognizable on the lower left edge of the picture, which suggests that the sleeping baby Jesus is depicted here. The painting is done in mostly soft tones. The artist created several variations of this subject, some of which are dated 1858 and 1874.Oil on canvas. rentoiled.Size 41 x 33 cm.Monogrammed lower right 'O. T."In a gilded baroque frame.
Los 75
The study shows the famous writer, still in his old age, as an energetic, concentrated personality of great spiritual strength. The painting style, which combines realism with the reception of Rembrandt, and the teachings of Impressionism in the treatment of light, also points to the late 19th century.56 × 44 cmOil on canvasNotes: Signed top left
Los 74
The pair of paintings is a faithful copy of Raphael's work on the vault of the Chamber of Signatures, in the Vatican, where he depicted four medallions with personifications of the sciences and arts. The female figures are flanked by cherubs and sit on clouds, in reference to their celestial, or spiritual dimension. Their belonging to the sphere of ideas is also indicated by the golden background, associated with divine light, and the higher world.The generic and idealized features of these figures underline their abstract nature, but each of them displays a different temperament thanks to different combinations of colors, and differences in movement. The effect of spontaneity of movements and attitudes makes these allegories far from the traditional rigidity of the sign; they seem lively and light.Our paintings depict poetry and theology. The poem is depicted as a woman wreathed in laurel and with outstretched wings, referring to the freedom of the imagination. She is wearing a white dress, with a green cloak draped over her hips and resting on her lap. She is sitting on the clouds. She is pink, and has a dynamic and theatrical pose; her body is turned, her legs are crossed, arms outstretched. He rests his left arm on an ancient marble head, and holds a lyre. He supports a book with his outstretched right arm. It is flanked on the sides by two naked and winged cherubs, who support two signs with the inscription: 'NUMINE AFFLATUR' referring to creative energy and the rush of inspiration.The Tondo with Theology, or Science of Divinity ("Divinarun rerum notitia") shows a female figure with a flowing white veil, a red dress and a green mantle; colors full of meaning. They are actually associated with the theological virtues: Faith (white), Hope (green) and Love (red). The color symbolism also seems to be related to the elements: Water (green), Air (white) and Fire (red).On the left he holds a book of theology, and on the right he points to a scene painted on the wall with the inscription, “Controversy about the Sacrament.” She is flanked by two winged cherubs in short, and very dynamic white tunics, in a dancing pose.162 x 162 cmOil on canvas
Los 65
Franz Xaver von Pausinger was a painter, draftsman and illustrator who worked in Austria and Germany. He devoted himself to landscape and animal painting. In this work, two fawns stand in front of a wooded landscape. A great technique inspired by impressionism, with which the artist describes the play of light and shadow of the meadow, and the fur of the animals, with short and decisive brushstrokes. An attribution sheet from 1915 is pasted on the back of the canvas.57 x 42 cm Oil on canvas
Los 32
HERMÈS Seidencarré "LA MÉCANIQUE DES IDÉES". Designed by Christine Henry. Motiv erstmals 2004 erschienen. 100% Seide in Hellgrün mit Muster in Multicolor. 90x90cm. Sehr guter Erhalt. Box anbei.| HERMÈS silk scarf "LA MÉCANIQUE DES IDÉES". Designed by Christine Henry. Motif first published in 2004. 100% silk in light green with pattern in multicolor. 90x90cm. Very good condition. Box enclosed.
Los 76
LOUIS VUITTON Handtasche "PONT NEUF PM", Koll. 2000. Epi Leder Serie in Fliederfarben mit silberfarbener Hardware. Doppelhenkel, Hauptfach mit Reißverschluss. Leichte Tragespuren vorhanden. Staubbeutel und Schulterriemen anbei. 32x9x18cm. | LOUIS VUITTON handbag "PONT NEUF PM", coll. 2000. Epi leather series in lilac with silver hardware. Double handles, main compartment with zipper. Light wear marks present. Dust bag and shoulder strap attached. 32x9x18cm.
Los 36
LOUIS VUITTON Beuteltasche "NOÉ", Koll. 2001. Epi Leder Serie in Rot mit goldfarbener Hardware. Klassisches Modell mit Band zur Weitenregulierung und längenverstellbarem Schultergurt. Leichter Abrieb an den Kanten, sonst gepflegter Erhalt. 26x19x34cm.| LOUIS VUITTON bucket bag "NOÉ", coll. 2001. Epi leather series in red with gold-tone hardware. Classic model with strap for width adjustment and adjustable shoulder strap. Light wear on the edges, otherwise neat condition.26x19x34cm
Los 19
HERMÈS Seidencarré "AU GRÉ DU VENT". Designes by Dimitri Rybaltchenko. 100% Seide in Schwarz mit goldfarbenem Rand und floralem Muster in Beige. Tragespuren und leichte Ziehfäden vorhanden. 90x90cm.| HERMÈS silk scarf "AU GRÉ DU VENT". Designed by Dimitri Rybaltchenko. 100% silk in black with gold trim and floral pattern in beige. Traces of wear and light pulls present. 90x90cm.
Los 53
HERMÈS Umhängetasche "EVELYNE III 33". Koll. 2011. Taurillon Clemence Leder in Rouge Garance. Hardware in Silberfarben. Klassisches Modell. Schulterriemen, Box, Staubbeutel und Rechnung anbei. Leichte Tragespuren vorhanden. | HERMÈS crossbody bag "EVELYNE III 33". Coll. 2011. Taurillon Clemence leather in Rouge Garance. Hardware in silver color. Classic model. Shoulder strap, box, dust bag and invoice attached. Light wear marks present.
Los 100
CHRISTIAN DIOR Armbanduhr "CV3583". Aus dem Jahr 2003. Aus Edelstahl in Goldfarben. Gehäuse mit Lünette ca. 14mm. ID Card, Papiere und Verlängerungsglieder anbei. Leichte Tragespuren vorhanden.| CHRISTIAN DIOR watch "CV3583". From 2003. made of stainless steel in gold color. Case with bezel approx. 14mm. ID Card, papers and extension links enclosed. Light wear marks present.
Los 17
HERMÈS Grandfoulard "CHASSE EN INDE". By Michel Duchene. Entwurf erstmal 1986 erschienen. 70 % Kaschmir, 30 % Seide. Tier- und florale Motive in hellen Tönen auf schwarzem Grund. Handrollierter Saum. 140x140cm. Gezogene Fäden, Tragespuren vorhanden. | HERMÈS foulard "CHASSE EN INDE". By Michel Duchene. Design first published in 1986. 70% cashmere, 30% silk. Animal and floral motifs in light tones on a black ground. Hand rolled hem. 140x140cm. Drawn threads, traces of wear present.
Los 16
LOUIS VUITTON Pochette "POCHETTE ACC.", Koll. 2003. Monogram Multi Color Serie auf weißem Grund mit goldfarbener Hardware und Details aus naturbelassenem Leder. Patina, leichter Abrieb und leichte Tragespuren vorhanden. 21x4x12.5cm.| LOUIS VUITTON "POCHETTE ACC", coll. 2003. Monogram Multi Color series on white background with gold tone hardware and natural leather details. Patina, light wear and tear present. 21x4x12.5cm.
Los 44
LOUIS VUITTON Portemonnaie, Koll. 2006. Monogram Canvas Serie mit hellbraunem Innenleben. Zehn Karten- ein Schein- und ein Münzfach. Sehr starke Gebrauchsspuren und leichte Beschädigungen vorhanden. 12x2x10cm.| LOUIS VUITTON portemonnaie, coll. 2006. Monogram canvas series with light brown interior. Ten cards- one bill compartment and one coin pocket. Very strong signs of use and light damage present. 12x2x10cm.
Los 38
LOUIS VUITTON VINTAGE Beuteltasche "SAC BALLADE", Koll. 1990. Monogram Canvas Serie mit goldfarbener Hardware und naturbelassenem Leder. Textiles Innenleben mit einem kleinen Innenfach. Längenverstellbarer Trageriemen. Starke Patina und leichte Altersspuren vorhanden. 50x10x31cm.| Monogram canvas series with gold tone hardware and natural leather. Textile interior with a small interior pocket. Adjustable length carrying strap. Heavy patina and light signs of age present. 50x10x31cm.
Los 39
LOUIS VUITTON Handtasche "LE FABULEUX", Koll. 2004. Suhali Leder Serie in Weiß mit goldfarbener Hardware und Nietendekor. Doppelhenkel, ein Außenfach mit Reißverschluss, Hauptfach mit Laschenverschluss, Hauptfach unterteilt in fünf kleine Fächer. Staubbeutel anbei. Sehr guter Erhalt, leichte Tragespuren. 36x12,5x22cm.| LOUIS VUITTON handbag "LE FABULEUX", coll. 2004. Suhali leather series in white with gold tone hardware and studded decoration. Double handles, one exterior zippered compartment, main compartment with tab closure, main compartment divided into five small compartments. Dust bag enclosed. Very good condition, light wear. 36x12,5x22cm.
Los 54
LOUIS VUITTON Portemonnaie "ELISE", Koll. 2016. Damier Ebene Serie mit goldfarbener Hardware. Hauptfach mit Überschlag und Druckknopfverschluss. Ein Außenfach mit Reißverschluss. Sechs Karten- und zwei Scheinfächer. Leichte Gebrauchsspuren vorhanden. Box und Staubbeutel anbei. | LOUIS VUITTON portemonnaie "ELISE", coll. 2016. Damier level series with gold-tone hardware. Main compartment with flap and snap closure. One exterior compartment with zipper closure. Six card slots and two bill pockets. Light signs of wear present. Box and dust bag enclosed.
Los 117
LOUIS VUITTON Twilly "ALL IN LV BANDEAU". 100% Seide in Rosa/Hellblau mit klassischem Logomotiven. Leichte Tragespuren. 120x8cm. Box und Staubbeutel anbei.| LOUIS VUITTON twilly "ALL IN LV BANDEAU". 100% silk in pink/light blue with classic logo motif. Light wear marks. 120x8cm. With box and dustbag.
Los 17
1964 FERRARI 330 GT 2+2 SERIES 1 Registration Number: BVN 781B Chassis number: 5863GT Recorded Mileage: 43,000 miles - Matching numbers, UK delivered from new - One of only c. 20 known surviving RHD examples - In current ownership since 1971 Replacing the 250 GTE 2+2 and the limited-production 330 America was the Ferrari 330 GT 2+2, making its first public appearance at the Brussels Salon in January 1964. This new model helped carry on the success of the 2+2 models of the immediate past with several key updates, in hopes of seeing an increase in sales over the 250 GTE 2+2. Ferrari’s new four-seater featured a completely new body style from Pininfarina, one that was very distinctive from the other Ferrari models on sale at the time. The easiest way to identify the first-series 330 GT 2+2 is by its quad headlight front end. The Series II cars did not adopt quad headlamps, which was the easiest way to idenify them. The public did not warm to them and so no other future Ferrari used quad headlamps. Other notable cosmetic changes include more angular nose and tail sections from the 250 GTE 2+2 and the introduction of a wider front grille to help increase airflow to the engine. Following in the footsteps of the 330 America in terms of its drivetrain, the 330 GT 2+2 featured a four-litre V12 engine mated to the existing four-speed-plus overdrive transmission as in the 250 GTE. Its wheelbase was increased by two inches, and with the installation of Koni adjustable shock absorbers, handling improved immensely. The 330 GT 2+2 remains one of Ferrari’s finest four-passenger touring cars - with its 300-horsepower, 4.0-litre engine, the 330 is powerful yet easy to drive around town, while its luxurious appointments make the car as suited to today’s road tours and events as when it was new. The 330 GT 2+2 still provides a great opportunity to enter into classic V12 Ferrari ownership at a reasonable price. An early RHD 'Series 1' model, chassis number '5863' was delivered new on 1st August 1964 to Maranello Concessionaires on St. Swithin’s Lane in the City of London. Finished in a dark shade of Blu Scuro with a stylish red leather interior, the 330 was soon to be despatched to its first private owner, the Scottish businessman Sir John "Jack" Stewart-Clark, who kept the Ferrari for a two or so years before moving the car on to its next custodian. Changing hands a few times during the 1960s, during which time the 330 had been repainted from dark blue to a sportier shade of red, in October 1971 our current vendor Peter chased up a classified ad placed by a dealer in London’s Notting Hill for a “Ferrari 330 Sports”. According to the seller, the car was a “fabulous looker” and “a snip” at a mere £1,750! Our man, a devoted Italian classic car enthusiast and collector, promptly bought the Ferrari and took to the road. After purchase, and knowing that the clutch needed adjustment, upon removing the gearbox it transpired more than a new new clutch was needed, the flywheel was blue with radial cracks after only a thousand miles use, and more work than that was immediately revealed. Other than the necessary work at the time, the 330 had some later work in 1987 and at the time a new MoT certificate obtained. The doors had previously been lightened in 1973, at which point new perspex windows were also fitted, with a sliding panel to the driver's window to enable pit signals in light competition use. However the car never raced and remained with a number of other exotic Italian classic cars in the collection. After 51 years of ownership, and due to a general desire to thin out his collection, our vendor has finally decided the time is right to find a new home for his 330 GT. In August 2022, in preparation for sale, an engineer was brought in to wake the slumbering V12 engine. After careful preparation, and some work to the carburettors and fueling, the engine was turned over and instantly burst into life,. Whilst largely complete the brakes are disconnected and the car lacks its door furniture. In recognition of this our vendor has asked for the pre-auction estimate to be reduced accordingly. In largely solid and well preserved condition, this hugely stylish, understated classic GT car of the 1960s is the perfect candidate for full restoration to original condition. The 330 is supplied with a record of continuous ownership from new, a copy of the original buff logbook and an original Ferrari 330 brochure. A UK V5C will need to be applied for, which Dore & Rees are happy to assist with if required.
Los 26
1965 JAGUAR C-TYPE BY PROTEUS Registration Number: CHG 635C Chassis Number: 1B54867DN/CC2121 Recorded Mileage: Under 50 road miles from new - All-aluminium single-door period Le Mans chassis by Proteus - 3.8 litre Jaguar engine with triple Weber carburettors - Running in mileage only since completion Where else to start but with legendary test driver Norman Dewis. Whilst testing a C-Type for The Motor, he summed the new model up thus: "Within a very few hours of first acquaintance, the experienced driver feels well able to travel at speeds in excess of 120mph whenever the road traffic conditions render such motoring prudent…as the speed climbs beyond the 130 mark, the car does tend to feel a little light, but the curious sense of becoming faintly airborne is offset by no loss whatever in directional controls. At such speed there is no shake or even tremble in the body nor is there anything to indicate that much higher speeds would not feel equally safe to the occupants in the car. The driving of the Jaguar XK120C on the motor roads of Europe is in fact a great and memorable experience." Built in a remarkably short space of time, the first ever competition model from Jaguar, the C-type brought the firm international recognition in motor racing. Following Leslie Johnson’s impressive outing at the 1950 Le Mans in an XK120 S, management approved the development of a new racing model based on the XK, initially named the XK 120 C, the model was later known as the C-Type. The new model started with an all-new lightweight tubular space frame, redesigned rear suspension and an upgraded 3.4-litre engine with a new cylinder head, high-lift camshafts, racing pistons and a side-exit dual exhaust system. Stylist Malcolm Sayers designed the wonderful coachwork with the classic elliptical grill. Three factory C-Types were entered into Le Mans in 1951, two retiring early but Peter Walker’s and Peter Whitehead’s car pressed on for victory, becoming the first British car to win Le Mans in almost 20 years. Duncan Hamilton returned in 1953 in his Weber-carburetor fed “Lightweight” to win again, meanwhile Jaguar built a further 40 or so customer cars. Rare, beautiful and historically significant, the C-Type was a true watershed moment in the evolution of post-war racing sports cars. Unsurprisingly there remains a healthy level of interest in authentic replicas of this rare and exotic racer. Originally named ‘Copycat’, Proteus was founded in 1980 by architect Jim Marland, the company being re-named as Proteus in 1983. Over the years Proteus developed a reputation for building some of the finest Jaguar C-Type recreations available, ultimately focusing entirely on the production of this vehicle. In true Jaguar XK120-C tradition, the Proteus features a tubular chassis with a lightweight aluminium body, period Jaguar engine and drivetrain, and authentic period design details such as the leather bonnet straps, original-style dials, wire wheels on spinners and a Le-Mans style fuel filler. The Proteus was always supremely quick, with a quoted 260 BHP, and was capable of reaching 0-60 in a shade over five seconds. Each car was built to customer specifications, with various options for colour and trim. Only around twenty cars were built each year, making the Proteus C-type both rare and desirable. The build of this fabulous Proteus C-Type started over 20 years ago, the basis being frame number CC2121, an earlier Proteus C-Type replica chassis, with a lightweight all-aluminium single door “Le Mans” body and vented bonnet. The former owner, a prominent historic racer and collector, and custodian of a genuine factory C-Type, was exacting in his requirements for this pet project. In addition to its lightweight body, our car features a 3.4 litre XK engine with period-correct triple Weber carburettors, a four-speed gearbox with overdrive, live rear axle, 16” wire wheels and disc brakes on each corner. Early in the build the owner was dissatisfied with the fit and shape of the bonnet supplied, and so commissioned a brand new aluminium bonnet by CMC of Bridgenorth, complete with authentic Le Mans 1953 scoop to feed its thirsty Webers. The car was actually completed in the early 2000s, but was subsequently dry stored for some years before being recently recommissioned in preparation for road use. This wonderful example presents very nicely with only the slightest evidence of road use and age. The paint shows an excellent finish throughout, capturing the fluidity of the undulating lines as achieved over 70 years ago. The construction of the body panels is exceptional, with excellent fit and finish, authentic and attractive exterior trim and lighting, a properly nested side exhaust, clear headlight covers, and correctly painted wire wheels. The aircraft-inspired cockpit is focused, purposeful and engaging, the low windscreen and additional aero-screens effectively transport you back to this golden era of motor racing. Climbing in creates a sense of racing heritage and purposeful features; neatly clustered instruments sit behind an attractive wooden steering wheel. The authentic green leather seats sit neatly in the cockpit, revealing just a few painted frame tubes, a reminder of the C-Type’s racing heritage. Under the bonnet, the engine features prominently with its Weber carburettors, a handmade aluminium airbox, polished cam covers and tubular exhaust manifolds. Finished in a correct shade of Jaguar racing green, this is a highly accurate replica of the original 1953 winner, finished to an exceptional standard and with only a handful of shakedown miles since completion. The C-Type is supplied with invoices totalling over £40,000 for its build, with much work in period by specialist Legends Racing of Cheltenham (is in addition to the initial cost of the base Proteus chassis/body and donor engine, transmission and drivetrain). The car has been serviced in September 2022 to ensure proper operation and driveability, and fitted with a new starter motor, fuel pumps and lines, attention to the suspension, carburation and running, and new Blockley tyres on each corner. A masterpiece of automotive design and racing excellence, the Jaguar C-Type is a car only a few in the world can truly aspire to. This highly authentic replica offers the enthusiast to live the 1950s Le Mans dream in what is effectively a barely run-in example of the marque. This super C-Type will be supplied with UK V5C, new MOT certificate and file of invoices detailing its older build and recent expenditure.
Los 3
1946 STANDARD FLYING EIGHT SALOON Chassis Number: NA2121DL Registration Number: KPC 288 Recorded Mileage: 3,690 miles - Rare early post-war example - Nicely restored in current ownership The smallest member of the Standard Flying family, the Flying Eight was launched just prior to the 1938 Motor Show at Earls Court in October of that year. It was a brand new design, marking Standard's first entry into the tax-busting 8 hp market. The frame was all new, with box section longitudinals, and independent front suspension (ifs) by a transverse leaf spring. The 1,021cc engine put out a heady 31bhp through a 3 speed gearbox and stopped with Bendix mechanical brakes operated by cables. Two versions were available from the launch of the model: A two-door all-steel saloon, and a 2/4-seat open tourer, with a drophead coupe from 1939. The 8 hp model, now without the Flying name, was rapidly re-introduced after the Second World War with the first models appearing within ten days of VE day. The only major update from the pre-war model involved the fitting of a 4-speed gearbox. The car was pitched by Standard against the Austin 8 and Morris Eight rivals, and was priced at £314. The 8 was phased out when the new Triumph Mayflower was launched in 1949. A slow seller, it was soon replaced by the new Standard Eight in 1953. This very early post-war model was first registered in January 1946 in the London area, later finding its way down to South West England and the ownership of a classic car collector near Frome. In current ownership the Standard has been restored to a very good standard, The black coachwork retains a lovely shine, and the retrimmed interior in tobacco leather presents extremely nicely with little signs of any wear. Dry stored since the passing of the former owner, the Standard will no doubt benefit from some light recommissioning before being used on the road once more. This charming little motor car is offered with its original buff log book and several period instruction books and data sheets.
Los 33
1968 LAND-ROVER SERIES IIA 88” LIGHT UTILITY Registration Number: KTC 834F Chassis Number: 24132798D Recorded Mileage: 61,750 miles - Desirable Series IIA variant - Recent comprehensive restoration The successor to the successful Series I was the Series II, which saw a production run from 1958 to 1961. It came in 88 in (2,200 mm) and 109 in (2,800 mm) wheelbases. This was the first Land Rover to receive the attention of Rover’s styling department- Chief Stylist David Bache produced the familiar ‘barrel side’ waistline to cover the vehicle’s wider track and the improved design of the truck cab variant, introducing the curved side windows and rounded roof still used on current Land Rovers. The Series II was the first vehicle to use the well-known 2.25-litre petrol engine, although the first 1,500 or so short wheelbase (SWB) models retained the 52 hp (39 kW) 2.0-litre petrol engine from the Series I. This larger petrol engine produced 72 hp (54 kW) and was closely related to the 2.0-litre diesel unit still in use. This engine became the standard Land Rover unit until the mid-1980s when diesel engines became more popular. The Series IIa revised version of the Land Rover made its debut in 1961 and is regarded by many Land Rover aficionados as the version that Rover got right. It is generally thought of as the most durable and easily repairable of the “Series” Land Rovers. This fabulous example of automotive history has benefitted from a very comprehensive restoration in recent years. Acquired by the previous owner in 1997 as a retirement project, due to his passing the project was picked up by a local enthusiast and fastidious classic car restorer. Over the years the Land-Rover has been dismantled and rebuilt from a brand new galvanised chassis. From the structure and coachwork, its mechanical and electrical components, to a myriad of trim and other finishing items, the amount of detail which this restoration has involved is exhaustive. This beautiful Series IIA is presented in the classic combination of Deep Bronze Green with a Hard Topped roof and black vinyl interior. Such is the quality of the restoration that we feel this must rank as one of the nicest we have seen. The Land-Rover is supplied with older registration documents and detailed list of expenditure in current ownership.
Los 35
1974 VOLKSWAGEN TYPE 2 DOUBLE-CAB PICKUP Registration Number: VMR 491M Chassis Number: 2642-126-905 Recorded Mileage: 43,000 miles - Rare Twin-Cab version of the venerable Type 2 - Recently purchased and restored at a cost exceeding £40,000 Volkswagen’s Type 2, known officially (depending on body type) as the Transporter, Kombi or Microbus, or, informally, as the Bus (US), Camper (UK) or Bulli (Germany), was introduced in 1950 as its second car model following the eponymous Type 1 Beetle. The Volkswagen Type 2 Transporter van’s forward control layout endowed it with huge versatility, allowing it to be configured in a bewildering number of variants, from simple panel van through to the relatively luxurious Samba Deluxe camper. All models shared common mechanical underpinnings, with a Beetle-derived flat-four air-cooled engine, later adopting the Volkswagen/Porsche developed two-litre unit. By the time production ended almost 1.5 million Transporters were on the roads, with a high survival rate due to a fanatical following and very good spares availability. The Type 2 remained in production in Brazil until increasingly stringent regulations finally killed it off in 2013. This beautiful example, fitted with the later 2-litre Type 4 engine as fitted to the Porsche 914 model, was imported from South Africa in the last few years. The Pickup was subjected to a 12-month comprehensive restoration in current ownership, which was completed around the start of 2021. Much of the fabrication and restoration work was entrusted to respected specialist Beetlelink of Surrey, supported by bills for c. £18,000. Our owner, an experienced classic car restorer himself, tackled the remaining mechanical rebuild and reassembly. The schedule of restoration work in the history file runs into 150 or more rows of various parts acquired or services provided, with numerous items being purchased from specialists such as from Just Kampers and Volkswagen Heritage. New sills, wheel arches, cabin and cargo floors were let in, and both new drop-sides and tailgate fitted. The engine and gearbox were rebuilt and reinstalled, the Pickup then being fitted up with numerous replacement mechanical, electrical and trim components. Upgrades have included the fitting of two twin choke Weber carburettors, and also power steering. The cost of all of this effort was in excess of £40,000, as detailed in the truck’s history file. This fabulous VW is finished in an attractive shade of light blue, with a tan canvas tilt and Porsche 17” Design 90 wheels, painted in Satin Black. One of the best Double-Cabs in the country, the Pickup is supplied with a history file and UK V5C.
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2002 LAND ROVER DEFENDER 90 TD5 Registration Number: PK02 YLL Chassis Number: SALLDVA572A637649 Recorded Mileage: 105,000 miles The Defender began its life as the British equivalent of the Second World War derived (Willys) Jeep, and quickly gained a worldwide reputation for ruggedness and versatility. The original car used a steel ladder chassis and aluminium alloy bodywork and was still being produced in developing countries despite the arrival of the relaunched Defender (L663.) The Defender incorporated significant changes compared to its predecessor, such as adopting coil springs, lockable center diffs along with a more modern interior. This later 2.5 litre TD5 model, first registered in 2002, and now shows 105,000 recorded. The Land Rover comes with a current MoT certificate, valid to July 2023, and is ideal for light commercial use, green laning or trusty every day use.
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1982 FERRARI MONDIAL COUPE Registration Number: TBA Chassis Number: ZFFLD14B000044063 Recorded Mileage: 39,000 miles - Three private owners from new, the last since 1988 - Supplied with all books and tools - Recently recommissioned with all fluids and belts The Mondial saw Ferrari return to Pininfarina as its choice of styling house, and it was sold as a mid-sized Coupé and, eventually, a Cabriolet. Conceived as a ‘more usable’ model, offering the practicality of four seats with the performance of a mid-range Ferrari, it was aimed at attracting a slightly wider audience than their traditionally more focused two-seaters. The car’s body was not built as a monocoque in the same way as a conventional car but instead, the steel outer body was produced by the famous Italian coachbuilder Carrozzeria Scaglietti, just down the road in nearby Modena and clothed a lightweight steel box-section space frame. The Mondial Quattrovalvole, or QV, of 1982 boosted power to 240bhp, using a combustion chamber design based on that of Ferrari’s Formula One cars. According to CAR Magazine in 1983: "The Quattrovalvole engine is a turning point in the Mondial's fortunes…now it has the urge to please a wider area of buyers, coupled with the refinement of suspension, ride quality noise suppression and drivetrain smoothness that makes it uncompromisingly modern.” Only 152 Quattrovalvoles were exported in right-hand-drive for the UK, making them a relatively rare sight on roads today. Originally purchased from Maranello Concessionaires in December of 1982, attractively finished in Blu Chiaro with a Crema leather interior, this early 4-valve model has clearly been well loved by its three private owners from new. The last owner purchased the Ferrari in 1988 and enjoyed the car for 12 years before storing carefully when moving abroad in 2000. In 2021 the Ferrari was removed from storage and thoroughly recommissioned for use once more. The engine was removed, and all belts, seals and rubber hoses replaced. Various items were soda blasted and where suitable crackle-coated as per original, the fuel injection system was also stripped and rebuilt. Bills are available to support this work, in addition to many receipts for previous maintenance over the Mondial’s life. Showing just under 39,000 miles from new, this highly original car bears the signs of a well-cared for cherished example. The Mondial is fitted with period-correct TRX tyres on each corner, and its original Pioneer radio/cassette player. The coachwork is in very clean condition, whilst the interior shows a light patina commensurate with its age. Supplied with a thick file of invoices, stamped service book and original manuals, this is a very genuine example of an affordable yet attractive classic Ferrari.
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Triumph Daytona T100RRegistration: N/AFrame: DD47211 T100REngine:DD47211 T100RColour: VioletV5c: N/AMOT: ExemptRestored as a show piece, this bike has been stored but is a runner and will need light commissioning.No other information is available at this point as we have no paper work what so ever for this bike or its build. Unregistered.No nova or import cert. either.Showing 1 mile since rebuild.
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A pair of Continental porcelain late 19th century Meissen-style three-light candelabra. Blue crossed swords and dot marks, each after the Meissen model with S-shaped branches and three foliate nozzles and sconces before tree-stump support, surmounted with a boy or girl seated on twin sweetmeat baskets, on scroll-moulded bases, 28cm high Condition Report: Restoration to several foliate drip pans, some chipping to applied flowers, otherwise of good decorative appearance.
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A late 19th century German porcelain four light Meissen-style candelabra. Blue hatch mark, painted and impressed numerals, probably Sitzendorf, modelled with a woman and putto before a rocky column support issuing three S-shaped flower encrusted branches, with foliate nozzles and scones, on scroll moulded flower-encrusted base, 54cm high
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An Edwardian mahogany free standing open bookcase. With gallery rail and later added upper and lower two door cupboards raised on a plinth base. L96cm x D24.5cm x H128cm Condition Report: Overall condition appears to be good, with light marks and wear in places commensurate with age and previous use, most noticeably on the shelves.
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A late 18th century engraved ale glass. The tapering conical bowl engraved with hops and barley, 16cm high Condition Report: Overall in good condition. No apparent cracks, chips or restoration. Some bubbles to the glass and uneven surface, likely due to production processes. Some very light scratches and marks with slight rubbing to bases. Engravings clear.
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A HRH Charles Prince of Wales and Camilla Duchess of Cornwall signed 2005 Christmas Card. The signature autopen machine generated, mounted with a colour photograph of the couple on their wedding day beside their children, signed 'From Charles and Camilla', two embossed gilt crests to the front and with the original envelope Condition Report: Light area of discolouration visible to the top section of the cover, overall condition bar this appears to be good.
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An HRH Charles Prince of Wales signed 2002 Christmas Card. The signature autopen machine generated, mounted with a colour photograph of Prince Charles seated on a log with his arms around Prince William and Prince Harry, signed 'From Charles', an embossed gilt crest to the front and with the original envelope Condition Report: Light blemish to the front cover, overall condition bar this appears to be good.
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An HRH Charles Prince of Wales and Diana Princess of Wales signed 1983 Christmas Card. The signature autopen machine generated, mounted with a colour photograph of Diana and William seated on a swing with Charles standing beside them, signed 'from Charles and Diana', two embossed gilt crests to the front and with the original envelope Condition Report: Light marks visible to the front cover, overall condition bar this appears to be good.
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