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Preisdatenbank abonnierenHerbert Terry & Sons - Anglepoise lamp - 1208 prototype model designed by George Carwardine- A vintage 20th century circa 1930s white enamel anglepoise desk table lamp light. The lamp having a shaped conical shade over an articulated twin arm, raised on prototype squared base. Marked to underside L44-1-BLF. Sold as untested. Measures approx. 103cm tall when extended.
Lucian Ercolani for Ercol - Model 361 - A mid 20th century beech and elm wood cocktail drinks trolley / whatnot from the Windsor range. The trolley bookcase being raised on castors with three chamfered edge tiers having spindle gallery upright supports with further spindles between the first and second tiers. Measures approx. 78cm x 72cm x 44cm.
Herbert Terry - Model 1227 - A vintage 20th century Anglepoise table / desk lamp light. The lamp having a conical shade with cooling holes along the back. Features a solid cast two tiered base with The Anglepoise - Made by Herbert Terry & Sons to the front of the fork. Heavily polished. Sold as untested. Measures approx. 91cm tall fully extended.
Kai Kristiansen for Schou Andersen - Model 31 - A matching set of four retro 20th century 1960s Danish teak framed dining chairs. Each chair having black vinyl padded curved backrest with shaped supports over a padded seat raised on tapering legs. Each chair measures approx. 77cm x 48cm x 43cm.
Lucian Ercolani for Ercol - Model 355 Studio Couch - A retro 20th century 1970s beech and elm three seat sofa settee / daybed. The sofa having spindle and hooped armrests and wide panel back with large foam and upholstered cushion all raised on short tapering legs. Loose webbing. Measures approx. 73cm x 205cm x 75cm
Lucian Ercolani - Ercol - Model 333a - Cow Horn - A retro mid 20th century circa 1950s beech & elm cow horn chair. The chair having a shaped backrest with turned spindles back slats. Saddle seat below raised on tapering supports united by H shaped stretcher. Tartan pattern cushions to back & seat. Measures approx. 67cm x 57cm x 50cm.
Lucian Ercolani for Ercol - Windsor Model 469 - Serving Cabinet - A 1960s retro beech and elm wood cocktail / bureau cabinet. The cabinet having a drop down fronted door to the top, over a twin door cabinet and a single drawer below. All handles being recessed oval pull handles. Measures approx. 110cm x 83cm x 43cm.
Lucian Ercolani - Ercol - Mustache model - A retro mid 20th century circa 1970s beech & elm elbow rest chair. The chair having shaped backrest with railing back slats and curved elbow rests. Saddle seat below raised on tapering supports united by H shaped stretchers. Measures approx. 96cm x 60cm x 42cm.
Herbert Terry - Model 1227 - A vintage early 20th century pre-war black Anglepoise table / desk lamp having the original conical shade. Features a solid cast two tiered painted base‘ The Anglepoise - Made by Herbert Terry & Sons ’ to the front of the fork. Sold as untested. Measures approx. 90cm tall.
Lucian Ercolani for Ercol - Windsor Model 469 - Serving Cabinet - A 1960s retro elm and beech wood bureau cabinet. The bureau having a drop down fronted door top, above a twin door cabinet and a single drawer, all handles being recessed oval pull handles. Applied blue label to inside door. All raised on castor wheels. Measures approx. 110cm x 72cm x 44cm.
The African Queen - a scale model hand built model of the boat from the famous 1951 movie of the same name. Hand built and finished to a high standard, the model features a canopy to the rear, a faux steam engine to the centre and various other deck details. Made from plastic, wood and metal. Fitted with electric motors and could easily be converted to radio control. Hand built by the vendor over a period of twelve months and finished to a museum standard. On stand. Measures approx: 71cm long. The African Queen is a 1951 adventure film adapted from the 1935 novel of the same name by C. S. Forester. The film was directed by John Huston and produced by Sam Spiegel and John Woolf. The screenplay was adapted by James Agee, John Huston, John Collier and Peter Viertel. It was photographed in Technicolor by Jack Cardiff and has a music score by Allan Gray. The film stars Humphrey Bogart (who won the Academy Award for Best Actor, his only Oscar) and Katharine Hepburn with Robert Morley, Peter Bull, Walter Gotell, Richard Marner and Theodore Bikel.
This figurine features a hand painted fishnet pattern done in 24k gold. The foal laying down was a Herend Guild Charter Member 1998 collector's piece. It is signed with the Herend hallmark and model number 15451-0-00/VHOR C 98. Issued: 1998Dimensions: 3.25"L x 1.5"W x 2"HManufacturer: HerendCountry of Origin: HungaryCondition: Age related wear.
This figurine features a hand painted fishnet pattern done in 24k gold. The baby elephant was a Herend Guild 2001 Smithsonian collector's piece. It is signed on the bottoms of the feet with the Smithsonian and Herend hallmarks, model number 175, 15488-0-00/VHOR C 2001. Issued: 2001Dimensions: 4.25"L x 1.5"W x 3.5"HManufacturer: HerendCountry of Origin: HungaryCondition: Age related wear.
Cat, frog, bear, and bird figurines featuring hand painted fishnet patterns with gilded accents. The sleepy pajama bear is the largest and measures approximately 2.25"L x 1.25"W x 1.25"H. Herend hallmarks and model numbers on the bottoms. Manufacturer: HerendCountry of Origin: HungaryCondition: Age related wear.
Richard Thomas Moynan RHA (1856 - 1906) Boy on a Swing (1890) Oil on canvas, 35.5 x 25cm (14 x 10") Signed and dated 1890Provenance: Private Collection, DublinThis oil on canvas painting entitled Boy on a Swing (1890) is fresh to the market. It has been hidden away in a private collection for the past fifty years. The painting is in its original gold exhibition frame and it is signed and dated by the artist. The letters RHA accompanies the signature and that dates the work to the latter half of 1890. This was an important year in the painter’s life as on the 18th of July 1890 he gained full membership of the Royal Hibernian Academy, Ireland’s elite society of professional artists. Moynan became an Associate of the Royal Hibernian Academy on the 18th of October 1889 and nine months later he was elevated to full membership. This unusually rapid promotion was a key feature of Moynan’s artistic career. He was 24 when he first embarked on his artistic training, as he had previously studied for the medical profession. However, from his commencement in art-school he constantly won awards for his drawing and painting, including the Taylor and the Cowper prizes. He concluded his Irish art-education by achieving the prestigious Albert Prize for the best picture shown in the Royal Hibernian Academy by a student. The painting was entitled The Last of the 24th at Isandula (1883). Gaining this award allowed him to travel to study under Karl Verlat at the Academy in Antwerp. Six months later he was the first Irishman to achieve the premier place for painting from the living model in an international competition called the Concours. He later travelled on to Paris where at the Academy Julian he was frequently placed first in drawing, painting and composition.Moynan began work on Boy on a Swing (1890) with a meticulous figure drawing executed in his careful academic style. A shy smile illuminates the child’s features as he expertly brings the swing to a halt by extending his left arm. The detailed rendering of the boy’s portrait contrasts with the artist’s animated treatment of the landscape as Moynan confidently employs broad brush-strokes to portray the lush rural setting. This is not an affluent child playing on a swing in his own garden. The boy’s raggy dress and bare feet suggest a rare treat when he was given unexpected access to a swing.Children were a constant source of pleasure and inspiration for the artist. He painted wonderfully intimate images of his own daughter, Eileen Norah and his son, Richard. Many of his large genre pieces featured children at play. Titles such as The Village Pump (1890), The Tug of War (1890), The See Saw (1891), Invitation to Go Haymaking (1892), A Travelling Show (1892), Ball in the Cap, (1893) and The Game of Marbles (1893), all depict groups of children in a village street or in a garden setting. The psychologist, Jean Piaget viewed play as being integral to the development of a child’s intelligence and social skills. Moynan’s sketchbooks in the National Gallery of Ireland illustrate his close observation of children engaging in recreational activities. Indeed, these sketchbooks demonstrates that he explored three different compositions before settling on the final narrative for his popular Leixlip street scene, Military Manoeuvres (1891), NGI Collection. This work was painted within six months of Boy on a Swing. While Military Manoeuvres tells the story of a large group of children with make-shift musical instruments pretending to be a military band, the subject draws the viewer into the excitement of the children’s game. Boy on a Swing is a much smaller and more focused composition yet this painting generates a similar effect. The child has an impish quality and he is clearly aware of his good fortune in trying out the make-shift swing. Dr. Maebh O’Regan
Vladimir Griegorovich Tretchikoff (South African, 1913-2006)Zulu Girl signed and dated 'TRETCHIKOFF/ 51' (lower right)oil on canvas 66.5 x 49.5cm (26 3/16 x 19 1/2in).(framed)Footnotes:ProvenanceAcquired directly from the artist by Mark & Aleen Dawson;Bequeathed to Aleen Dawson's niece, Donna Regan Lefeve;By direct descent to the current owners.Never exhibited in the lifetime of the artist, this work was painted during Tretchikoff's golden decade. It was in the 1950s that he produced such mass-market masterpieces as the Chinese Girl (a high-profile sale was handled by Bonhams in 2013), Miss Wong and Balinese Girl. The Broadway actor Mark Dawson purchased Zulu Girl in 1953, when Tretchikoff brought his show to Chicago. The second painting that Dawson acquired from the artist was the iconic Lost Orchid (seen also in this catalogue).It is probably an early version of the Zulu Girl, a work that first became available in reproduction in 1952, during Tretchikoff's tour of South Africa. The following year, he brought both versions to the USA for his tour of North America. After the phenomenal success of the tour, he took one of the Zulu Girls to London, where Frost & Reed, an old Bond Street art dealership, had lithographs made of the painting. Tretchikoff may be credited with introducing the African theme in popular prints of the post-war Britain. If we examine the issues of the Art Bulletin, a journal of the Fine Art Trade Guild, the leading association of British makers, distributors and framers of art reproductions, we will notice an absence of African portraits until Tretchikoff's Zulu Girl appeared on the market in 1955. The Zulu Girl is Tretchikoff's typical 'exotic' portrait. In his oeuvre, it is this kind of portraits that is most sought after. Unlike his pictures of Asian women, it is purely South African in its subject matter. With such studies, Tretchikoff created images of serenity for the industrialised world. In his exhibition catalogues, Zulu Girl was described as follows, 'A portrait in repose, suggesting the essential spirit of Africa, still so little known and so greatly misunderstood by the European.'The early version, like the often-reproduced picture, is dated 1951. The most obvious difference is the presence of a dappled red-and-blue background in the work in the Dawson collection. However, a more significant difference is the unembellished look of the model in this version. Tretchikoff tended to produce pastiches, where visual elements of different cultures were put together for effect. In the better-known Zulu Girl, as well as in many other 'ethnic' portraits by Tretchikoff, the model wears European jewellery that contrasts with her traditional African dress. Her large gold earrings, bracelet and necklace were unaffordable to a Zulu woman in apartheid South Africa.Depicting the same model without the inappropriate accessories, the Zulu Girl from the Dawson collection is a more authentic representation of African reality.We are grateful to Boris Gorelik for his completion of this footnote.This lot is subject to the following lot symbols: ** VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.For further information on this lot please visit Bonhams.com
Leica (Leitz), Germany. Model 1F camera with a red dial, serial number 674042, ca. 1953-54. Including a collapsable flash reflector, a slip-on skylight filter with original case and packaging, a flash attachment with original packaging, a rangefinder (viewfinder) in original packaging, a Leica camera instructions booklet, a Leica guide booklet, and the "New Leica Manual" book by Willard D. Morgan and Henry M. Lester (1951).(Camera, in case) height: 4 in x width: 6 1/2 in x depth: 2 1/4 in. (Ephemera, shipping dimensions) height: 4 1/2 in x width: 11 in x depth: 11 in.Condition:Shutter works and mechanical pieces seem to move well. Not tested. Some dirt/dust collected along the lens. Light wear to the leather case. Some wear throughout to packaging of attachements, booklets, book, and remaining ephemera.
An 18th-century Tibetan painted mandala thangka depicting various lamas, an outer ring of repetitive mantra script, and protective inscription at all eight gates leading into the central square buildings. With provenance affixed to the verso.Accompanied by a letter which reads:Tibetan Mandala, gouache on cotton.Mandala of Samsara.The painted mandala is a two-dimensional, symbolic and representational blueprint. It is believed that two-dimensional mandalas have a remarkable ability to intensify the beholder's power of imagination and to stimulate the creativity needed by the practitioner to visualize the three-dimensional. Looking at mandalas is thought to help create a model for the practice of contemplative visualization.This Mandala has an outer circle of flames protecting the inner residence. Moving toward the center this is followed concentrically by what is thought to be a Vajra fence, a repetitive mantra script and then finally the lotus base containing the lotus petal within a circle. The square within the circle represents the building, in the center of which lives the deity. The building is constructed to face in four directions.According to Tibetan convention, East is in the front, and South, West and North follow in a clockwise direction. A door faces from each direction location and is guarded by gate protections. The inner square contains a circle divided into nine parts, that contain what looks to be a mantra of um.Tibetans share with all Buddhists a belief in a cycle of beginningless rebirth called samsara, where beings are reborn according to the law of Karma. Briefly, virtuous actions result in happiness in the future, while non-virtuous deeds result in suffering. It is considered desirable to be reborn as a human or god, however, the goal of the Buddhist path is to escape entirely from the cycle and to end suffering and future rebirth forever. This state beyond suffering is called nirvana.Sight; height: 13 1/4 in x width: 11 3/4 in. Framed; height: 23 in x width: 21 1/2 in x depth: 3/4 in.Condition:Study images closely. The work is of significant age and therefore show signs of wear as expected, numerous areas of minor paint loss, and evidence of creasing or folding. Close inspection with a black light reveals no evidence of restoration or inpainting. Some of the lettering appears to be faded or have been vulnerable to cleaning.
1990 Citroen 2CV6 Special Registration number G438 NGK Chassis number VF7AZKA00KA366225 Engine number 0909533265 White and red A good opportunity to aquire a late model 2CV File of servicing history Maintenance guide MOT expires January 2025 Only for sale due to other vehicles All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions. With V5C, client informs us the car has been fully serviced
1971 Triumph TR6 150bhp model (UK spec) Registration number KUV 619K Damson Red with a black interior ULEZ, road tax and MOT exempt MOT expires March 2025 First registered 18.11.1971 Acquired by the seller 12.5.2017 as a road car and to compete in the Revington TR/TR Register Sprint & Hillclimb Championship, with comprehensive receipts for all servicing & upgrades since 1992 Modified for competition use, yet remaining fully road legal Engine rebuilt 2018/19 by TR Enterprises Limited to fast road specification, and rebuilt again 2021/22 by JG Engineering Limited of Salisbury Engine now includes JE forged pistons, ported & polished gas-flowed cylinder head, unleaded conversion, block line-bored & fitted with cam bearings, big bore cam followers, Piper (yellow) camshaft, hardened rocker shaft, balanced crankshaft assembly, 123 bluetooth programmable distributor (controlled by 123 Tune+ App), uprated double-spring competition clutch, electronic tachometer, 6-3-2 extractor exhaust system, twin silencers, Bosch fuel pump and over-throttle conversion. Complete Lucas mechanical fuel injection metering unit/control unit renewed 2022 Standard gearbox with overdrive on 2nd, 3rd & 4th Other competition modifications: half roll cage with full harness bar, side impact bars and under-dash cage, 4 point harness(es) (recently out of date, but also with inertia reel belts), Mazda MX5 Mk2 seats Revington rear suspension with adjustable dampers Quaife automatic torque biasing limited slip differential Rear firewall separation, rear anti-roll bar, front spoiler, front/rear towing straps, baffled alloy fuel tank, oil catch tank(s), oil cooler, Mocal oil sandwich plate, high torque starter motor, Toyota Hilux twin-pot front calipers, Minator 6 inch alloy wheels with List 1A tyres (5 no. Avon CR6 ZZ 185/70R15 incl spare set of 5 little used wet tyres), uprated competition driveshafts, Moto-Lita competition steering wheel with remote overdrive switch, overdrive logic box, remote ignition/fuel pump cut-off switch, plumbed-in fire extinguisher, aluminium door skins, front & rear bumpers removed and Burt (timing) strut supplied. Boot rack Vast history file with £10,000's of expenditure going right back to 1992 All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditions
1961 Austin Seven Mini Being sold without reserve Registration number 505 BXU Chassis number A2S7-109572/A Engine number 152896 Affectionately known as Rosie Owned for around 14 years Light restoration many years ago Many 1959 Model features such as wheel trims, welded seat brackets, fleck interior, flat sills (no flutes), floor push starter, interior lights in rear pockets (companion boxes), full panel front skirt etc. Sadly for sale due to ill health All lots in this sale are sold as is and bidders must satisfy themselves as to the provenance, condition, age, completeness and originality prior to bidding. Please read our terms and conditionsWith V5C logbook, Heritage certificate, BMC original drivers hand book and instruction manual, book of the Austin 7 Mini by Pitman, BMC original workshop manual, BMC original tool roll and spannersmileage: 22014
Austin Osman Spare (British, 1886-1956)Supine Nude signed with initials 'AOS' (lower right)pencil on paper26 x 34.5cm (10 1/4 x 13 9/16in).Executed circa 1919-1921Footnotes:ProvenanceWith James Birch Fine Art, LondonPrivate Collection, U.K.The present lot relates to another very similar drawing from 1921, which depicts an almost identical nude to the foreground. The model is thought to be Eily Shaw, his then recently estranged wife, whom he separated from in 1919. We are grateful to Robert Shehu-Ansell 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
Sir Jacob Epstein (British, 1880-1959)Second Portrait of Euphemia Lamb (half-length) bronze with a green patina52.5cm (20 11/16in) highConceived in 1911Footnotes:ProvenanceSale; Christie's, London, 6 November 1992, lot 34, where acquired byJ.C. Horwood, from whom acquired by the family of the present owner, and thence by descentPrivate Collection, U.K.ExhibitedLondon, National Portrait Society, 1914, no. 86 (catalogue not traced)London, The Leicester Galleries, An Exhibition of Sculpture and Drawings from 1900 to 1932 by Sir Jacob Epstein (1880-1959), 17 June-17 July 1971, no. 17 (another cast) (as Euphemia (First bust))LiteratureB. Van Dieren, Epstein, John Lane, 1920, pl. XVII, illustrated (another cast)A. Haskell, The Sculptor Speaks, Jacob Epstein to Arnold Haskell. A Series of Conversations on Art, Heinemann, 1931, p. 168 (another cast)R. Black, The Art of Jacob Epstein, World Publishing Company, New York and Cleveland, 1942, no. 21, pl. 82, illustrated (another cast)R. Buckle, Jacob Epstein Sculptor, Faber & Faber, 1963, p. 52, pl. 74, illustrated (plaster cast), (as First Bust of Euphemia)E. Silber, The Sculpture of Epstein with a Complete Catalogue, Phaidon, Oxford, 1986, pp. 128-129, no. 33, illustrated (another cast)The present lot shows Euphemia with a geometrically angular bow, which is noted by Silber as being specific to casts one and two, as opposed to cast three, which has a more naturalistic bow.Annie (Nina) Euphemia Forrest, referred to by her first husband Henry Lamb as 'Euphemia', posed as a model for numerous artists of the early 20th Century, including Henry Lamb, Augustus John, James Dickson Innes, and Jacob Epstein, amongst others. This bust was executed at a time when Epstein was focused on accuracy. The Artist is quoted as describing how he 'worked with great care, and followed the forms of the model by quarter inches ... not letting up on any detail of construction of plane; but always keeping the final composition in view'. (J. Epstein, Let There Be Sculpture, An Autobiography, Michael Joseph Ltd, London, 1940, p. 56)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
Ken Howard R.A. (British, 1932-2022)Model in the Studio signed 'Ken Howard' (lower left)oil on canvasboard58 x 48.5cm (22 13/16 x 19 1/8in).Footnotes:ProvenanceAcquired by the family of the present owner, 18 April 2011, and thence by descentPrivate Collection, U.K.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
Walter Richard Sickert A.R.A. (British, 1860-1942)Nude on a Bed signed and inscribed 'Sickert/Rd ST.' (lower right)watercolour on paper11 x 17.5cm (4 5/16 x 6 7/8in).Painted circa 1905-6Footnotes:The present lot belongs to a series of paintings and drawings Sickert produced dating from 1905-6. He presents his nude model in a series of different studios, positioned on several different beds, lying on her side, legs bent, her arms variously positioned. The present lot can be compared to Le Lit de Fer, (1905), a scene painted in Sickert's studio at 8 Fitzroy Street, as well as Le Lit de Cuivre, (circa 1906), which shows a similar brass bedstead.We are grateful to Wendy Baron for her assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com
Registration No: HSV 300 Frame No: ES 626 Engine No: XJ 616 CC: 1000 MOT: ExemptPurchased by the vendor over 30 years agoPrevious been in South AfricaRestored to a good standardNow with an older V5 Registration DocumentAs Ariel Motors (J.S.) Ltd, one of their first bikes produced was the Ariel Square Four designed by Edward Turner, who at the time was looking for work and showing drawings of his engine designs to various motorcycle manufacturers. In the days of predominately single-cylinder engines a square four layout was very advanced and the bike stayed in production until the late 1950s. The engine with two transverse crankshafts was essentially a pair of across-frame OHC parallel twins joined by their geared central flywheels, with a four-cylinder block and single head. The idea for the engine was rejected by BSA but adopted by Ariel, becoming their prestige model for the next 20 years.This C1954/5 Airel Square Four was purchased by the vendor some 30+ years ago as to go into his collection. It has been restored very well and is showing little sign of use since completion. In its striking Black and chrome livery and some very special straight-through silencers. Recommissioning will be required before use. The Ariel comes complete with an old style V5 For more information, please contact: Mike Davis mike.davis@handh.co.uk 07718 584217
Registration No: RWT 112K Frame No: 2031874 Engine No: 2039958 CC: 750 MOT: ExemptUK Supplied 750 K2Credible 22,248m and current V5COlder restorationThe introduction of Honda's seminal CB750 at the Tokyo show in October 1968 profoundly altered the motorcycle market elevating motorcyclists’ expectations to a higher level. The new model did not introduce any new innovations but was innovative in introducing them as a package. Four-cylinder power-plants, electric starting, 12v electrical systems and disc brakes had all been seen before, as had 120 mph performance and oil-tight engines but no machine before the CB750 had incorporated all of these features at the same time.This UK supplied CB750 with ‘Dream Machine’ tank, is reported to be in ‘good running order’. An excellent opportunity to acquire a nicely presented K2 vendor advises ‘usual checks’ before use. For more information, please contact: Stewart Parker info@handh.co.uk 07836 346875
Registration No: WO 3292 Frame No: H2621 Engine No: 2286 CC: 500 MOT: ExemptAuthentically presented Ariel Model F 500Enthusiast owned Banbury eligible bikeSupplied with a paperwork file and a V5CLike a lot of British motorcycle companies, Ariel began producing bicycles in the late 1800s eventually progressing onto motorcycles in 1902. In the 1920/30s their design department included the likes of chief designer Val Page, Edward Turner and Bert Hopwood and it was Page who laid down the basics of Ariel’s four-stroke singles range when he moved the magneto behind the engine in 1927 and established the layout of Ariels singles for the next 30 years. After a typically rocky few years for manufacturers in the early part of the century, in 1932 Jack Sangster bought Ariel from the receivers at a bargain price. The company was renamed Ariel Motors (J.S.) Ltd, and promptly resumed production in a new factory in Selly Oak Birmingham and one of their first bikes produced was the Ariel Square Four designed by Edward Turner followed by the Ariel Red Hunter.The Model F, first registered in Monmouthshire, was quite an advanced bike in its day sporting twin exhaust pipes ending in fishtail silencers, with a riveted-on badge saying they have the AA’s seal of approval. Bought by the enthusiast owner in 2002 and restored by him, keeping a good degree of originality over the next few years, he has competed in many Banbury Runs since. Not run for a while it will need some recommissioning before use and it comes with a file of receipts and information about the rebuild together with various bits of technical information, old MOTs and tax discs and a current V5C. For more information, please contact: Ian Cunningham ian.cunningham@handh.co.uk 07415 871189
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