155745 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

1978 Triumph Spitfire 1500. Registration number YOA 179T. Chassis number FH 126792. Engine number FM/113303-HE.The Spitfire was conceived by Standard-Triumph to compete in the small sports car market against the Austin-Healey Sprite. The Sprite had used the drive train of the Austin A30/A35 in a lightweight. The Spitfire used mechanicals from the Herald. Where the Austin A30 used monocoque construction, the Herald used body-on-frame — a chassis Triumph was able to downsize, saving the cost of developing a completely new chassis-body unit.Giovanni Michelotti, who had designed the Herald, styled the bodywork, which featured wind-up windows (in contrast to the Sprite and Midget, which used side curtains) and an assembly of the bonnet and wings that opened forward for engine access. The Spitfire's introduction was delayed by its company's financial troubles in the early 1960's and was subsequently announced shortly after Standard Triumph was taken over by Leyland Motors. When Leyland officials, taking stock of their new acquisition, found Michelotti's prototype under a dust sheet in a factory corner, it was quickly approved it for production.The Mark IV featured a redesigned rear design similar to the Triumph Stag and Triumph 2000 models, both also designed by Michelotti. The front end was revised with a new bonnet pressing eliminating the weld lines on top of the wings/fenders, door handles were recessed, the convertible top received squared-off corners. The interior was revised to include a full-width dashboard, with instruments ahead of the driver rather than over the centre console, initially finished in black plastic and beginning in 1973 finished in wood. The 1500 followed in 1974.YOA comes with an extensive history; the Heritage certificate states it was built on the 5th September 1978 but not registered until the 14th February 1979, normal for a sports car.There is history from 1988 when it was owned by Mr Smith when he had the big end bearings replaced as well as a sill. In 1989 Mr Hardman of Chelmsford had the engine built at 88,000 miles. Eric Sullivan of Flitwick was the owner from 1990 and he set about a comprehensive restoration, including the body tub in 1994. MOT's are on file from 1992 at 6,470 miles, by 2007 it had risen to 9,125 miles and and 2017 at 12,290. Our vendor bought it in 2009 and has only added a few miles each year.Sold with the V5C, MOT history, Heritage certificate, large receipts history, this appears to be a well sorted Spitfire, ideal for summer fun.

1928 Triumph Super Seven two seater de Luxe, 832cc. Registration number WW 5202. Chassis number 5282. Engine number 5292.The Triumph Motor Company of Priory Street, Coventry, produced its first car in 1923. The Super Seven, produced between 1927 and 1932, was their third model, designed by Arthur Sykes late of Lea Francis, and Stanley Edge who had assisted Herbert Austin in designing the Seven, and was targeted at the quality economy slot previously filled by Humber and Talbot. Launched in 1927 it had a 832 c.c. side-valve engine with a three bearing crankshaft, mated to a three speed gearbox. It had hydraulic brakes on all four wheels and a transmission handbrake, with a worm drive axle. The 81ins wheelbase frame had semi-elliptics at the front, quarter elliptics at the rear, the wheels could be either artillery or wire. With a top speed of 53 m.p.h. it could cruise at 40 m.p.h. and return fuel consumption rates of 35 to 40 m.p.g.During the long production run many body styles were offered including; 4-Seater Tourer, 2/4-Seater Tourer, Super-Charged Sports, 2-Seater Gnat, Coachbuilt Saloons, Fabric Saloons, 2-Seater Fixed Head Coupe, Close Coupled Saloon Landaulette, Tickford Sunshine Saloon and 4-Door Pillarless Saloon. Prices varied from £149 10s for a 1927 Popular Tourer to £198 for a 1931 Tickford Sunshine Saloon. It is estimated that just under 15,000 Super Sevens were produced with many being exported to Australia in ?rolling chassis? form and some 158 are believed surviving. A supercharged model with a smaller 747cc engine was also available from 1929-30 which could hit 80mph. It was replaced by the Super Eight, a rebadged Super Seven, with the addition of wire wheels, the option of a 4-speed gearbox and bumpers fitted as standard.WW was first registered in Leeds on the 24th March 1928 and its early history is unknown. In 1960 it was photographed at a rally by persons unknown. It was sold by Alec Fenby in June 1998 to our vendors father. He was a retired engineer and started work on getting it mobile again, the brakes were stripped and new pads obtained, the carb was removed and a similar example obtained. Unfortunately the project stalled and it remained partially stripped until our vendor inherited it in 2002. It has remained in the same condition for his tenure.Now being sold as the storage facility is no available, it is sold with the V5C, V5 and receipt from Fenby. The Pre 1940 Triumph Motor Club would be very happy to welcome the new custodian to its ranks

1981 Honda Super Dream CB250N, 249cc. Registration number VKH 893W. Frame number unknown. Engine number unknown. The Honda CB250N and CB400N Super Dream were produced from 1978 to 1986, they were the successor to the short lived Dream model. It had a series of revisions including a six-speed gearbox and what Honda termed as European styling which resembled the CB750F and CB900F. The Super Dream was fitted with a four stroke, air-cooled, twin-cylinder engine. It had three valves per cylinder, two inlet and one exhaust, operated by a chain-driven overhead camshaft. Ignition was provided by capacitor discharge ignition with a 360° crank layout similar to many traditional British parallel twins, but with two balance shafts to reduce unwanted vibrations. Fueling was provided by twin Keihin carburettors. The first owner was Frank Wilson of Cottingham who sold it to James Hurley of Hull in 1990, there was an MOT in 1991 at 18,279 miles. Barn stored since then it is sold with a spare frame, engine and wheels.Sold with the V5 and old MOT.

1985 Suzuki CS Roadie, 49cc. Registration number B797 VUA. Frame number unknown. Engine number unknown. The Suzuki CS is a series of scooters/mopeds that were produced between 1982 and 1988. The line-up consisted of three basic models, the CS50 (49cc two-stroke engine), CS80 (79cc two-stroke) and CS125 (125cc four-stroke). The CS series was also produced under licence and sold in continental Europe as the 'Puch Lido'. Unusually, for this class of vehicle, all versions were equipped with a very reliable fully automatic three-speed gearbox, with the primary method of drive being a chain. The CS50 and CS80 are virtually mechanically identical, the main differences being a two-person seat, larger brakes (foot operated on rear) and larger headlight on CS80. The CS125 is almost entirely different and shares very few interchangeable parts. VUA was owned by Kenneth Prendergast of York in 2000 who had the V5C transferred from Julie Prendergast, she had bought it in 1987, it was last used on the road in 2007 when it was MOTed at 6,407 miles. Dry stored since it will need recommissioning.Sold with the V5C.

1996 Harley Davidson MT350, 349cc. Registration number P871 HRM. Frame number 1HD6RLT14VY000290. Engine number 237931.The MT350 motorcycle was built in the USA starting in 1993 and was derived from the earlier Armstrong MT500 built for the British army. In 1984 Armstrong-CCM then bought the rights to the Rotax engined XN Tornado from the Milan based SWM company after they had gone into liquidation. From this they developed the Armstrong MT500 and then produced about 3,500 of the bikes for the British Army between 1984 and 1987. In 1987, after the MT500 had been adopted as the standard motorcycle for NATO, Armstrong sold the rights to Harley Davidson who took over production in the United States where they produced the Harley Davidson badged MT350 version of the motorcycle. The British Army began buying this version in 1993.The MT350 uses an electric start version of the Austrian built Rotax 348cc single cylinder, 4-valve overhead camshaft engine producing 30 bhp and 29 Nm of torque. Although slightly heavy at 162 kg for off-road use, it is a robust motorbike and is fitted with good quality Marzocchi front forks and Ohlin rear shock absorbers. The wheel rims were made by Akront, hubs and discs. bearings.The MT350 is fitted with detachable plastic pannier boxes mounted on frames either side of the engine. It is also fitted with a plastic rifle scabbard at the back on the right-hand side. This example saw service with 174 PRO COY Royal Military Police and 157 RLC-249 Sqn being retired in 2009 and sold by Witham Ltd, the military specialists.It was in a sorry state and our vendor set about a full restoration, the engine and gearbox were stripped and rebuilt, as was the carb, the frame was repainted, all bearings and seals replaced, a long list is included with the sale. The bike is now fully running and ready for green adventures. It is only being sold as another project has appeared.Sold with the V5C.

1961 BSA A10 Golden Flash, 650cc. Registration number XHE 90. Frame number GA7 21688. Engine number DA10 17214.Launched in 1949, the BSA A10 was a development of the A7 500cc and was needed to compete with the Triumph Speed Twin, it was designed by Bert Hopwood (who had previously worked at Triumph and Norton). Initially it was available with a rigid frame but the rear plunger was a more popular choice, especially amongst the sidecar buyers. It had hinged rear mudguard and a semi unit gearbox mated to the parallel twin engine until 1954 when a swinging arm rear was introduced along with separate gearbox and engine. Initially offered in black and chrome to the UK market a new gold colour was introduced and became very popular and led to the name Golden Flash, some 80% of all units were made for export which meant that there were long waiting lists for UK buyers.XHE was first registered to Garner & Son of Barnsley on the 26 November 1961 before selling to Herbert Metcalf and then Brian Brittain, both of Barnsley, Frank Barton & Sons of Hull sold it in September 1965 to Stanley Grubb of Hull, followed by Thomas Fitzgibbon and Brian Rooms, both of Hull. Our vendors father bought it in the 1970's and it has seen occasional use over the years, an MOT in 1996 at 74,985 miles followed by 2000 at 75,171 and 2001 at 75,379. Today the mileage is 76,256. It should only require light recommissioning before road use.Sold with the V5C, V5, R.F.60 and the MOT's

1962 BSA A10, Golden Flash, 650cc. Registration number 431 YUA (non transferrable). Frame number GA7 723032. Engine number DA10 A424.Launched in 1949, the BSA A10 was a development of the A7 500cc and was needed to compete with the Triumph Speed Twin, it was designed by Bert Hopwood (who had previously worked at Triumph and Norton). Initially it was available with a rigid frame but the rear plunger was a more popular choice, especially amongst the sidecar buyers. It had hinged rear mudguard and a semi unit gearbox mated to the parallel twin engine until 1954 when a swinging arm rear was introduced along with separate gearbox and engine. Initially offered in black and chrome to the UK market a new gold colour was introduced and became very popular and led to the name Golden Flash, some 80% of all units were made for export which meant that there were long waiting lists for UK buyers.YUA was owned by Paul Schofield of Leigh in 2010 before selling it to our vendor in 2011. He has hardly used it and it appears either original or an older restoration. It will need recommissioning before use.Sold with the V5C.

1966 Triumph Tiger 90 to Trophy spec, 500cc. Registration number LWW 60D. Frame number H46700. Engine number H46700.Triumph re-entered the 350cc class in 1957 with the introduction of the Twenty One, its first unitary construction model, and quickly followed up with a '500' version, the 5TA Speed Twin. The latter was first to undergo the 'sports' treatment in the form of the Tiger 100SS, the equivalent '350' not appearing for another five years. Launched in October 1962, the Tiger 90 featured a tuned engine equipped with a revised ignition system that used points instead of the previous distributor. The 'baby' Tiger looked smart and went well too, its top speed under favourable conditions being a genuine 90mph. It was also impressively economical.LWW was owned by Andrew Lawson of Goole in 1985 before passing to Tony Armstrong, again of Goole in 1986. In 1997 it came into the ownership of our vendors brother who sadly passed away later that year, his father then looked after it passing it to our vendor in 2012 and he gave it a total rebuild; the engine was upgraded to Trophy spec with Harris pistons, frame stripped and powder coated as were other components, Pazon Surefire electronical ignition was fitted. Every part of the bike was restored in homage of his brother. This was finished in 2016 and the speedo reset when MOT'd the following year the mileage was 42 and today it is only 282 miles. It has been recently recommissioned and was ridden to the saleroom.Sold with the V5C, V5 and a large collection of receipts for work undertaken in 2012/16.

1974 Yamaha RD250, 247cc. Registration number AWJ 12M. Frame number 600238 (not found). Engine number 600238 (not found).The two stroke RD250 was produced between 1973 and 1987, with four generations; the air-cooled models from 1973 up to 1979, and from 1980 until 1987 the liquid cooled models; known as the RD250LC, RD250LC-II and RD250 YPVS. The name RD stood for Race Developed.The standard bike weighed 152 kg dry and had a 247cc 2-stroke twin engine that produced 30 hp, with a 6 speed gearbox and chain final drive.In 1983 the UK government reduced the maximum cc for learners to 125, killing off the 250 cc motorcycle class in a stroke. At the time, it was considered that the reason for the sudden change in the law was the RD250 which put a high-speed vehicle into the hands of inexperienced users.AWJ was first registered to Stephen Clark of Sheffield, by 2014 it was with Michael Wilkinson of Dewsbury who had the bike restored including an engine rebuild, with HVC GP style performance exhausts, since when it has only covered some 950 miles. MOT certificates on file from 2015 at 50miles, 2016 at 248 and 2017 at 448 miles. In 2020 it moved on to Rupert Moxon-Holmes and is now entered for auction as his desires have changed.Sold with the V5C, MOT history from 2015 and receipts for the rebuild in 2014, together with the original warranty

Andrew Plimer (British 1763-1837)Portrait miniature upon ivoryHead and shoulder portrait of Captain Frederick G Carmichael, 9th Regiment of Light DragoonsWithin period gold frame, with hair work and central gilt monogram 'FD' verso Oval 5.5cm x 4.3cmAndrew Plimer was a well known portrait miniaturist who had a great number of clients up to and during the 1790s. After obtaining a position as 'studio boy' in the residence of eminent miniaturist Richard Cosway, Plimer is said to have taken lessens in drawing with the approval of Cosway, whilst some note that he may have received training from Cosway directly. Plimer also exhibited frequently at the Royal Academy from around 1785 up until 1810, and later also in 1819. Condition Report:Good overall condition.Frame with general wear commensurate with age, predominantly in the form of surface scratches. Gold frame tests around 11ct.

J Parent (French active 1815-1833)Portrait miniature upon ivory Head and shoulder portrait of Napoleon I (1769-1821), wearing the uniform of the Chasseurs-a-Cheval de la Garde, wearing the ribbon and star of the Legion of Honour, the Iron Cross of Lombardy, and the Grande Eagle of the Legion of HonourInitialled JCP and dated 1815Within period gold frame with engraved silver gilt border to front, and studded blue enamel border with hair work panel with seed pearl monogram to centre versoOval 5cm x 4cmProvenancePhillips London July 1998 Lot 266Purchased by the current vendor from Judy & Brian Harden Antiques September 98Cf. A similar signed and dated example by Parent was sold as part of the Bernard Franck Collection in Paris.Notes: It is unusual to find a work by Parent signed J.C.P., indicating a generally unknown middle name.Former portrait miniature dealers Judy & Brian Harden have noted that this particular example may possibly have either been a presentation piece from either Napoleon himself, or a memento to 'M.J.' from someone connected with the Court. Parent was a well known miniaturist who exhibited at the Paris Salon between 1822 and 1833.As portrait miniaturist at the court of Napoleon he produced a number of miniatures of Napoleon and his generals. Condition Report:Good overall condition, slight wear to edge of painted ivory panel mid upper left.Frame with some general light wear commensurate with age, including surface scratches, and slight rubbing to gilding in places. A number of seed pearls of monogram have fallen from place, but appear to still be behind glass.

Christian Richter (Swedish 1678-1732) Portrait miniature, watercolour on vellumHead and shoulder portrait of Carey (n�e Fraser) Countess of Peterborough (1655-1709)Within gilt frame with scrolled crest, bearing Burlington Fine Arts Club exhibition label versoOval 8.5cm x 7cmProvenance Charles Lees Collection: the miniature is accompanied by the original receipt of purchase by Lees for the sum of �20, dated April 9th 1883, from Ernest Renton Jeweller Art Designer and Collector of Curios, 1B Pall Mall Place, London.Charles Edward Lees was a successful British industrialist who curated his collection of paintings and miniatures during the latter half of the nineteenth century. Lees acquired examples by many notable artists with the assistance of known art dealers William and George Agnew. One hundred portrait miniatures from his collection were sold at Bonhams forming The Charles E Lees collection sale in November 1997.ExhibitedBurlington Fine Arts Club London, Exhibition Portrait Miniatures,1889, case 29, no.37Cf. A comparable example sold at Bonhams London, The Albion Collection of Fine Portrait Miniatures, Apr 2004, Lot 11Further miniatures of Carey:Charles Lees Collection, Bonhams, November 1997, Lot 20 - also by RichterEdward Grosvenor Paine Collection, Christie's, October 1980, Lot 40 - by Peter Cross.Portrait Miniatures The Property of a Lady, Bonhams, April 2005, Lot 9 - by Peter CrossCarey Countess of Peterborough was an English courtier, and maid of honour to Queen Catherine from 1674 to 1680.Carey was one of the 'Hampton Court Beauties' painted by leading portrait painter Sir Godfrey Kneller depicting eight of the most fashionable and glamourous ladies of the court of William III. During the early part of his career Christian Richter is believed to have studied under leading Swedish portrait miniaturist Elias Brenner, later working in Berlin and Dresden where he gained a strong following. Upon arrival in London in 1704 Richter began by copying full scale portraits of other popular artists including Michael Dahl and Godfrey Kneller.The antiquary and engraver George Vertue said of Richter's work: 'his Manner of Painting very tender and Curious, his tincts had a great variety his pencil regular and neat, his lines of drawing very just & toucht with freedom'.Condition Report:Good overall condition.Light signs of wear commensurate with age to frame.

Art Deco style Italian 'Rivestito' covered silver walking stick handle, modelled in the form of a swan, stamped 'R', upon a silver collar hallmarked Birmingham 1986, makers mark DH-L, and hardwood shaft, L96cmProvenance by vendor repute: This walking cane comes from a private collection amassed by the current vendors mother who was an Antique dealer specialising in walking sticks, working at the Portobello Road Antique Market in London for over forty years. In 1988 the prop crew from LWT (now ITV) visited Portobello Road looking for, amongst other items, a signature stick for David Suchet to use in his portrayal of Agatha Christie's Poirot. At the time this particular walking stick was one of five in possession. The prop crew chose and purchased another of the five which was then used by Suchet throughout all seventy episodes of the much loved series. Following the conclusion of the series Suchet was gifted his particular cane, which has been loaned to and can now be seen at the Agatha Christie Gallery at the Torquay Museum.

Historical and Medical Interest: An earthenware culture vessel for the large-scale production of penicillin, circa 1941, oblong in shape with cylindrical spout, glazed in the interior, 22.5cm x 28cm x 6cm, signed and enscribed in pen - 'The Penicillin culture vessel was designed by Norman Heatley 1940 - a member of the team who developed the drug administered later that year Sir William Dunn Pathology lab University of Oxford', with a letter of provenance from the vendor: A similar vessel was recently shown on the Antique Roadshow with a valuation of £15,000 to £20,000 .Dr Norman Heatley, OBE DM - Penicillin's Unsung Hero In the early 1940s, a team of Oxford University scientists, led by Professor Howard Florey, carried out pioneering research work which led to the large-scale production of penicillin - the 'miracle drug' that saved thousands of Allied troops' lives and literally millions since. Dr Norman Heatley was a key member of that team. Born in 1911 in Woodbridge, Suffolk and with a doctorate from Cambridge, Heatley joined Florey's research team at the Sir William Dunn School of Pathology in Oxford in 1936. Soon after the start of World War II, work began on penicillin after Sir Ernst Chain read Sir Alexander Fleming's 1929 paper on penicillin and thought the subject worthy of further research. With limited resources in wartime Britain, the Oxford team's ingenuity was taxed to the full. Heatley was responsible for many of the technical innovations that were necessary to carry out the extremely difficult processes of purification and extraction of penicillin. He also became expert at growing the mould from which penicillin was extracted. Initially all kinds of containers were used ranging from sheep-dip tins to gallon juice bottles, biscuit tins and bedpans. The solution was a stackable rectangular ceramic vessel designed by Heatley who organised their immediate production. Heatley also monitored the experiment on mice in 1940 which first showed penicillin's great potential, and grew the penicillin for the first clinical tests on human patients in Oxford in 1941. Britain's full engagement in the war meant that further development and large-scale manufacture of penicillin could not realistically take place here; the collaboration of the USA would be needed. Ignoring the danger, Heatley and Florey flew to the US in 1941 to share their knowledge and to try to enlist American support. Fortunately this was forthcoming, and treatment of soldiers began in North Africa in April 1943. Soon, increased production of penicillin became the second highest priority at the American War Department. Only the development of the atom bomb was considered more important. The US government encouraged chemical and pharmaceutical firms to collaborate without fear of potential antitrust violations with the result that penicillin became available in time for the closing stages of the war. Fleming, Florey and Chain shared the Nobel prize for their work on penicillin in 1945. Various studies since the 1980s have argued that Heatley's contribution was seriously underestimated. In apportioning the credit for penicillin's development, Professor Sir Henry Harris linked the four principal scientists: 'Without Fleming, no Chain or Florey; without Chain, no Florey; without Florey, no Heatley; without Heatley, no penicillin'. In 1990 Heatley was awarded an honorary Doctorate of Medicine - an unprecedented award from Oxford University - in recognition of his great contribution. Norman Heatley, a kind, much loved, and self-effacing man, died in January 2004

Ian Fleming 'The Spy Who Loved Me' hardback, 1st edition 1962 Jonathan Cape with dust jacket, some staining to jacket but generally good

1961 Morris Mini 850Reg. no. 2604 ROChassis no. MA25467119Engine no. UnknownAlec Issigonis’ revolutionary Mini had been launched to great fanfare in 1959, with its innovative use of space and transverse-engined front-wheel-drive design proving the inspiration for many cars to come. The little car soon became a symbol of the Britain of that era, with everyone being captivated by its charms, from those who needed the most basic, economical transport, all the way up to the celebrities of the day and even royalty. There wasn’t much it couldn’t do; a surprisingly spacious small car, that was extremely economical, easy to drive and easy to park, it would also prove a formidable competitor in motorsport, both on the circuits and on the rally stages.This 1961 Mini is the 850cc model, which was one of the launch specifications. At this stage, the cars were still being sold under the Austin Se7en and Morris Mini-Minor names. Featuring the Moulton rubber suspension cones, the 850cc-engined car could reach 72mph – not fast, but many more powerful cars of the day would have been easily left behind when the going got twisty – and would have been so much less practical around town as well. However, this particular example has been upgraded to the engine and gearbox from a 998cc car, giving a useful boost in performance. The car found itself stored in a barn for 26 years prior to 2004; from Christmas 2008 onwards, in previous ownership, it was fully stripped down and the bodyshell sent to Hertford to be completely restored. During this work, it was fitted with new front wings and a new nearside front panel and prepared for a respray. Photographs of this work accompany the car. The reconditioned engine and gearbox were then fitted, together with a new interior from Newton Commercial. Owned by the vendor since December 2021, it is in good all-round condition, and has been MOT tested for peace of mind. The MOT expires in January 2023, while the car also comes with the aforementioned photographs plus bills and a current V5C.

1972 Triumph GT6 Mk.IIIReg. no. VJE 613LChassis no. KE13992DEngine no. KE011089HEThe Triumph GT6 was based on the Spitfire open sports car that had been introduced in 1962. Impressed by Italian Giovanni Michelotti’s forward-thinking styling for that car, in 1963 Triumph sent a Spitfire to his studio in Italy for a prototype GT version to be created. The resulting hardtop car – the Spitfire GT4 - was a hit in terms of styling, but the 1,147cc engine was nowhere near powerful enough to give decent performance, particularly considering the added weight. As a result, production plans were shelved. However, the Triumph racing team saw potential in the aerodynamic bodywork and made great use of Spitfires with fibreglass GT4 bodies, with the crowning achievement being a class win at Le Mans in 1965. This reinvigorated the idea of production, and a solution to the lack of power was found – the fitment of the 2-litre straight-six from the 2000 and Vitesse. The car was then launched in July 1966, as the ‘GT6’. It instantly proved a hit, as with 95bhp and a smooth and sonorous engine, it could reach 106mph and 60 in under 12 seconds – performance superior to that of an MGB. Known as the ‘poor man’s E-Type’ for its styling – including the distinctive ‘power bulge’ on the bonnet and opening rear hatch – the GT6 was improved over several generations, the most important development coming in 1969 with the adoption of ‘rotoflex’ driveshaft couplings and reversed lower wishbones, taming the somewhat wayward handling on the limit of the earlier cars. By the Mk. III variant of 1970, power had increased to 104bhp, top speed to 112mph and 60 was now reached in 10 seconds – much better figures than its MG competitor. Meanwhile, comprehensive instrumentation was provided inside, set in a traditional wooden dashboard as befitted a Triumph.This 1972 GT6 Mk. III, with the desirable option of overdrive on third and fourth gears, is an excellent low-mileage example. Bought new by the vendor’s late brother, who lived abroad, it was only ever used occasionally when he visited the country. The original speedo was changed at just under 30,000 miles and kept as evidence; the current speedo now shows 2499 miles. Always garaged, the car has however not been used for nearly 20 years. Recently it has been fitted with new clutch and brake master cylinders to get it mobile again. It also comes with a few spare parts, including a new never-fitted rear bumper, and plenty of interesting documentation. It also comes with a current V5 and an older logbook.

1924 Bentley 3 Litre Speed Model VDP TourerReg. no. UF 384Chassis no. 755Engine no. 633Walter Owen Bentley had an extensive background in mechanical engineering but made his first steps in the motor car industry at the age of 24 in 1912, when he became the British agent for the French DFP concern. Bentley’s DFPs made quite an impression after, having found the standard performance unsatisfactory, he tuned the engines for higher output, and DFPs so modified competed convincingly in motorsports events. During the Great War, he put these engine-building skills to good use, providing engines for the famous Sopwith Camel fighter planes.Post-war, Bentley decided to start producing his own cars, and Bentley Motors Limited was duly founded on 18th of January 1919 – the same date as the start of the Paris Peace Conference that brought the war to a final end. Development work on the first model proceeded quickly; in October, a chassis was displayed, with a mock-up engine, at the London Motor Show. By December, the engine was running. And what an engine it was. Developed under the leadership of wartime fighter pilot Clive Gallop, its capacity of 3 litres may have seemed small compared to some of the giant engines of the pre-war period, but innovative features – overhead camshaft, dry sump lubrication, twin carburettors and twin magnetos, and perhaps most interestingly, four valves per cylinder – meant it produced a healthy 70bhp in standard form, and prodigious torque. The Speed Model, meanwhile, was more powerful still, with cars in this state of tune capable of 90mph.Despite the car’s rapid initial construction, further development took longer than anticipated and the car did not go on sale until September 1921. From then onwards, rolling chassis' were despatched from the Cricklewood factory to the buyers’ choice of coachbuilders. The 3-litre instantly proved a hit with the racing drivers of the day; after its first race at the 1922 Indianapolis 500, the car also won Le Mans in 1924 and 1927 and many other races besides, the colourful characters who drove them creating the legend of the ‘Bentley Boys’. In contrast to other sporting cars of the period – the Bugattis, for example – the Bentley was much less-highly strung, with every component being over-engineered and massively strong. This meant the cars were highly robust and extremely capable as both sporting machines and touring cars.This 1924 3-litre Speed Model is a thoroughly charming example that has clearly benefitted from plenty of loving use. According to Clare Hay in ‘Bentley – the Vintage Years’, this car was originally delivered to coachbuilder Harrington for a four-seater sports body; this is backed up by information on file that records the car’s history 1927-1940. Later the car seems to have been converted to a shooting brake – not an uncommon fate for sturdy vintage cars. In the 1970s, the car was fully restored by John Walker and fitted with the current Vanden Plas-style body – a style which is regarded by many as one of the most attractive on these cars. The car was then used extensively, with photographs available of it competing at various VSCC and Bentley Drivers’ Club races in the early 1980s.The current custodians purchased the car from John Walker’s son in 2009, and since then it has been frequently exercised and kept in on-the-button order. Thoroughly recommissioned after purchase, it was rewired, incorporating flashing indicators, and the brake shoes were relined. Then the sunnier climes of the continent beckoned; it has since been driven to Spain, Portugal, France and Italy on touring holidays. Further maintenance has included four new wheels, a new tonneau, a new water pump and prop shaft, and the fitment of a petrol tank from a 4 ½ litre. The cone clutch has also had attention. This car is said to drive superbly, with lovely steering, and certainly sounded and went well on the occasion of our visit to the vendor. With its record of consistent care and use during the current ownership, this car inspires confidence – an extremely important attribute for a near-century-old vehicle. In addition, it wears a charming patina that only decades of use can provide. This on-the-button Bentley is ready for further touring. Spares consist of two magnetos plus the old prop shaft, while there are also Bentley tools and a hub puller. Documentation includes some early history as mentioned above, plus maintenance and driving records from the current ownership, and 15 old MOTs. The car also comes with a current V5C.

The art of Eric Stanton for the man who knows his place book

Large selection of Records includes the who, rolling stones, beech boys etc approx 26 records

Ian Fleming, "James Bond" Colonel Sun, Thunderball, The Golden Gun, On Her Majesty's Secret Service, The Spy Who Loved Me, You Only Live Twice, first editions with dust jacket, and Dr No, Octopussy and Living Daylights, later impressions, and five Ian Fleming "James Bond" paperbacks

Twenty-one LP records and three 10" singles, Rock, Prog Rock and Pop including Rolling Stones, Jethro Tull, Curved Air, Genesis, The Who, etc.

A 1979 The Who concert ticket at Wembley Stadium

ROYAL COPENHAGEN "Kristine Svendsdatter übergibt das Goldene Horn", 20. Jh. Entwurf von Holger Christensen, Darstellung der knienden Kristine Svendsdatter, die lt. Überlieferung im Jahre 1639 durch Zufall das goldene Horn entdeckte, dass zu den berühmtesten archäologischen Funden Dänemarks gehört, polychrome Staffage, auf Rundsockel, us. bezeichnet "Kristine Svendsdatter fandt i Aaret 1639 ved Gallehus Guldhornet" und bekrönte Wellenmarke (Juliane Marie Marke), Modell-nr. 12242, schöner Erhalt, H 23 cm.| ROYAL COPENHAGEN "Kristine Svendsdatter handing out the Golden Horn", 20th century, design by Holger Christensen, representation of the kneeling Kristine Svendsdatter, who, according to tradition, accidentally discovered the golden horn in 1639, which is one of the most famous archaeological finds in Denmark, polychrome staffage, on a round base, bottom inscribed "Kristine Svendsdatter foundt i Aaret 1639 ved Gallehus Guldhornet" and crowned wave mark (Juliane Marie mark), model no. 12242, nice condition, height 23 cm.

"Pascaline" (oder: "Arithmatique"), Replika Legendäre erste mechanische Rechenmaschine der Welt des großen französischen Mathematikers und Philosophen Blaise Pascal, der 1623 in Clermont-Ferrand in der Auvergne geboren wurde. Bereits als Kind hatte er einige anerkannte fundamentale mathematische Lehrsätze entwickelt, zum Beispiel über geometrische Kegelschnitte. Blaise Pascal schrieb später zahlreiche mathematische Abhandlungen, er bewies die Abhängigkeit des Luftdrucks von der Höhe des jeweiligen Ortes, diskutierte die Frage des Vakuums gegen den Willen der Naturforscher und schuf die Grundlagen für die Entwicklung der Hydraulik ... - heute noch gültig als "Pascal'sches Gesetz". - Mit 19 Jahren entwickelte Blaise Pascal seine erste Rechenmaschine, nach zahlreichen zeitgenössischen Berichten sollen maximal 20 Stück je gebaut worden sein, wovon heute noch 9 Exemplare, ausschließlich in öffentlichen Museen, bekannt sind. - Die "Pascaline" ist für Addition sowie Subtraktion nach der Neuner- bzw. Zehner-Komp­lement-Methode (= addieren, um zu subtrahieren) konzipiert, da sie nur in einer Richtung gleichlaufende Zahnräder aufweist. - Zum Rechenvorgang: Dieser begann mit der Nullstellung aller Schaulöcher durch Verdrehen der Zifferräder. Zum Addieren wurde das an den Anzeigerollen befindliche Lineal nach oben geschoben. Die Anzeigerollen waren 2-reihig mit Ziffernfolgen gekennzeichnet. Die untere Reihe war nach rechts laufend steigend von 0 bis 9 (Addition) und in der oberen Reihe fallend von 9 bis 0 (Subtraktion) ausgelegt. Für beide Rechenarten galt also die gleiche mechanische Handhabung: Ein Stift wurde in den Speichenzwischenraum der entsprechenden Ziffer des Einstellrades eingeführt und dann bis zum Anschlag herumgedreht. Zur Umschaltung von Addition auf Subtraktion wurde lediglich das Lineal nach unten geschoben. Die Arbeitsweise blieb die gleiche. Pascals Rechenmaschinen hatten von Anbeginn bereits Zehnerübertragung und konnten auch zur Multiplikation eingesetzt werden, was allerdings einem sehr mühsamen Unterfangen gleichkam. - Blaise Pascal erhielt 1649 für seine Rechenmaschine das "Royal Privilège", sie war damit die erste patentierte Rechenmaschine der Welt! Außerdem war die "Pascaline" auch die erste Rechenmaschine mit automatischer Zehnerübertragung, wie sie auch die erste Rechenmaschine in Serienproduktion war. Mit Blaise Pascal und seiner Rechenmaschine begann die Entwicklung der mechanischen Rechner, zunächst in Europa und dann weltweit, was schließlich nach mehr als 300 Jahren zur Erfindung des ersten Mikroprozessors führte, des "Intel 4004", der für den ersten Elektronen-Tischrechner der Welt, den "Busicom 141-PF" von 1971, entwickelt wurde. Die hier offerierte "Pascaline" ist ein absolut originalgetreuer Nachbau des Originals aus der IBM-Sammlung, hergestellt von dem Ingenieur Roberto A. Guatelli um 1981. Es handelt sich um eine 8-stellige Buchhaltungsmaschine für französische Währung. Der Aufbau besteht aus 6 x 10, 1 x 20 und 1 x 12 Stellen. Die am wenigsten signifikanten Stückelungen, Sols und Deniers, befinden sich auf der rechten Seite. Der 12er-, 20er-, 10er-Übertrag erfolgt über alle Positionen problemlos! Geschützt wird die "Pascaline" durch eine Schatulle aus Nußbaumholz. - Die "Pascaline" ist zweifellos eine Riesen-Rarität von hohem kulturellen wie wissenschaftlich-technischem Wert! Start Price: EUR 7500 "Pascaline" (or "Arithmatique") Replica The "Pascaline" offered here is a faithful replica of the original from the IBM collection, by the engineer Roberto A. Guatelli c. 1981. It is an 8-digit accounting machine for French currency. The construction consists of 6 x 10, 1 x 20 and 1 x 12 digits. The least significant denominations, Sols and Deniers, are on the right hand side. The 12s, 20s, 10s carry over all positions without problem. The calculator is housed in a walnut case. -Blaise Pascal (1623-1662), mathematician, physicist and philosopher, is credited with the invention of the world's first mechanical calculator capable of addition and subtraction. His father, Étienne Pascal, was a lawyer and a judge in the tax court who assumed a new position as tax commissioner for Upper Normandy, based in Rouen, in 1639. France had declared war with Spain four years earlier, leading the French government to renege on part of its internal debt and to increase taxation. Étienne - assisted by his son - was under pressure to keep accurate account of the rising tax levies with only the help of counting boards. In 1642 the 19-year old Blaise Pascal began designs for a machine that would simplify his father's work. As a journalist wrote in "Le Figaro Littéraire" in 1947, "the calculating machine was born of a filial love flying to the rescue of the tax man". - Pascal's first design was for a five-digit calculator; he later refined his principal by creating six-, eight- and ten-digit machines. Due to the difficulty in cutting toothed gears accurately, Pascal used lantern-type gears formed by pinned wheels that could turn in one direction only. - His design was simultaneously simple and brilliant; the Pascaline could add and subtract two numbers directly and multiply and divide by repetition. The ten digit-wheels on the outer case are connected to axles that each carry three lantern gears and a paper-covered drum with inscribed figures. The digit-wheels were rotated by a stylus. For addition, a sliding rule located on the number display was pushed upwards for digits from 0 to 9. For subtraction, the rule was pushed downwards for digits from 9 to 0. - The "Pascaline" was also revolutionary for including digital carry-over. Whenever a ten was carried, a ratchet mounted between the gears, pushed the adjacent gear around a notch, so that the display moved one digit higher. Unfortunately for its operator, a design flaw meant that the ratchets were inclined to jam - perhaps one reason why production of the Pascaline was not financially successful at 100 livres apiece. It was, however, a mathematical sensation, leading Pascal's friend, the poet Charles Vion Dalibray, to compose a sonnet in its honor: "... Calculation was the action of a reasonable man, And now your inimitable skill. Has given the power to the slowest of wits". - Pascal accordingly applied for a privilege (the 17th century term for a patent), which was only eventually granted in 1649, after its inventor had presented the issuing officer, Chancellor Seguier, with an 8-digit calculator of his own. - The total production of the Pascaline is not known, however, researchers estimate that no more than twenty examples were produced, of which nine are known today. It was, nevertheless, an historic achievement, not least for demonstrating "that an apparently intellectual process like arithmetic could be performed by a machine". Its introduction led to the development of mechanical calculators in Europe and, eventually, to the invention of the very first microprocessor, the "Intel 4004", for the "Busicom 141-PF" electronic desk calculator in 1971. Understood in this way, the "Pascaline" is arguably world's earliest mechanical computer. - Literature: Stan Augarten, "Bit by Bit, An Illustrated History of Computers", 1984, pp. 22-30. Start Price: EUR 7500

3 Framed photographs that show members of the Auxiliary Division of the Royal Irish Constabulary (ADRIC). They were recruited in July 1920 to assist the RIC during the Irish War of Independence. They comprised of British Officers who had returned from WW1. (the crystal and frame broke) #1470

Günther Kieser, Mappe mit 15 Plakaten zu verschiedenen Künstlern und Musikfestivals. Lippmann & Rau, Farboffset auf Hochglanzpapier, ca. 68 x 49 cm. Dabei: Oscar Peterson Trio 1960; Spiritual & Gospel Festival 1966; Frank Zappa 1968; Blood, Sweet & Tears 1970; The Who 1972; American Folk Blues Festival 1972; War 1974; Jazz Festival Frankfurt 1976; Fleetwood Mac 1977; Jack Bruce Band 1977; Jazz Festival Frankfurt 1978; Jazz Festival 1982; American Folk Blues Festival 1982; Rock'n Poesie Sommernachtstraum 1985. Dazu 7 Plakate mit Miniaturabbildungen und 2 Bögen mit der Nennung aller Künstler die von Littmann & Rau präsentiert wurden. Plakate in gutem Zustand, Mappenhülle beschädigt.

John Beswick - Beatrix Potter - Hunca Munca Sweeping, Royal Albert - Beatrix Potter - Mrs Rabbit and Peter, Beswick England - Beatrix Potter - Lady Mouse, and Royal Albert - Beatrix Potter - The Old Woman who lived in a Shoe Knitting. All in good condition

Martin Theodore Ward (British 1799-1874): Pony Tethered at 'The Wayside Inn', oil on board unsigned, titled on exhibition label verso 15cm x 19cm Provenance: exh. 'York Fine Art Exhibition' May 1879 at the Yorkshire Museum Gallery Ex. No.1238, lent by J M Mountain Esq., Art Dealer in Goodramgate, York who supplied eight pictures for the exhibition

Airborne Wandeltochte Police Sports Association Renkum souvenir medal, (The annual Airborne Walking Tour was started in 1947 to honour those who fought for the liberation of our country in the September 1944. It is a tribute to the 1,700 and more British and Polish parachutist soldiers who died and were buried in the Battle of Arnhem at the Airborne Cemetery in Oosterbeek

J.SPALDING & P.LALLY NOVELTY CITY CHAMBER POT British ceramic, 13 x 23cm (23 diameter) (5 x 9") The City Chamber Pot was created by Totalitarian Toilets Ltd as an interesting souvenir of the Glasgow City of Culture 1990. This company was set up to challenge the privatisation attempts on Glasgow Green by Council Leader Pat Lally and the opposition by Museum Director Julian Spalding, of Glasgow?s Glasgow project in the Arches. They were made in the spirit of the historic chamber pots featuring Napoleon and other controversial figures in the 19th century. The pots, made in a limited edition of 200, were sold to people who believed that ?The Cistern is Corrupt?. Condition Report:Available upon request

AVRIL PATON (SCOTTISH b.1941) NEIGHBOURS Watercolour on paper, 63 x 66cm, (25 x 26?) Barclay Lennie Fine Art Limited sticker verso with original paperwork attached, together with a relevant newspaper article from The Herald, 28th November 2001, titled ?Windows of opportunities for tenements? attached verso Avril Paton is an important Scottish artist who paid homage to city life in Glasgow through her paintings and watercolours. Paton?s most recognised works are depictions of Glasgow tenements, ?the fabric of the city?,  and the life within them. Born in 1941, she is a living artist who is renowned for offering the viewer an intimate look beyond tenement windows, displaying human life within a busy city. Notable exhibitions and collections include Kelvingrove Art Gallery and Museum, Glasgow, and the Gallery of Modern Art, Glasgow. Condition Report:Available upon request

HUMPHREY SPENDER (BRITISH 1910-2005) PHOENIX  Tapestry, 165 x 121cm, (65 x 47.5?) ?Phoenix by Humphrey Spender - Edinburgh Tapestry Co? inscribed to wooden frame verso Humphrey Spender was a British artist, designer and photographer. ?Phoenix? was designed for Dovecot Studios, after their incorporation as Edinburgh Tapestry Co in 1946. At this time, resident Dovecot weavers were producing tapestries designed by English designers who were well established in the 1930s, which is referenced in Elizabeth Cumming?s book, 'The Art of Modern Tapestry Dovecot Studios Since 1912'. Cummings was commissioned to write this book for the centenary exhibition held to celebrate the birth of Dovecot in 1912. This rare and prestigious tapestry was formerly owned by Sir Harry Jefferson Barnes, who acquired Edinburgh Tapestry Co in 1954, when Sax Shaw was appointed artistic director. Condition Report:Lower left of tapestry has a white mark. Note: this item is woven, therefore there are some imperfections in the weave throughout the tapestry, refer to images. Additional images show the tapestry in situ, true colours shown in natural light

FROM A SCOTTISH COLLECTION  EDWARD ATKINSON HORNEL (SCOTTISH 1864-1933) IN THE BLUEBELL WOOD Oil on canvas, signed and dated 1912, 102 x 76cm (40 x 30") Edward Atkinson Hornel was a key figure in a group of painters working in the late 19th century in and around Glasgow who revolutionised Scottish painting. Influenced by the Impressionists as well as Japanese and Dutch Art, this group of artists "The Glasgow Boys" challenged traditional subjects and methods. Hornel?s interest in strong colour applied with a palette knife resulted in a densely patterned network of strokes which became a feature of his work. This significant painting depicts a romanticised view of children among blossoms in the Galloway countryside, its textured landscape in luminous jewel- like colours. After two years of closure the Gallery at Pollock House in Glasgow will reopen with an exhibition of Hornel's work running from 17th March to 19th June 2022. Condition Report:On close inspection the pigment and canvas are in good condition with no significant issues to report

ANDA PATERSON RSW (SCOTTISH CONTEMPORARY b.1935) VICTIMS OF WAR Mixed media, signed lower right, dated (19)67, 120 x 89cm (47.25 x 35") Title inscribed verso  Anda Paterson is a post war and contemporary painter, and she studied at The Glasgow School of Art. She founded the Glasgow Group in the 1950s with her partner, James Spence, who was also a prolific Scottish artist; they worked to promote contemporary art in Scotland. Paterson is well known for her figurative works, which often make social comment as well as powerful depictions of the human condition. Condition Report:Available upon request

WILLIAM MELDRUM (SCOTTISH 1865-1942) FARM GIRL AND SHEEP IN A MEADOW (BOSHAM, SUSSEX 1903) Gouache and watercolour, 22 x 29cm (8.5 x 11.5") Included in the inscription verso - 'Water-colour sketch by William Meldrum (1865-1942) when on a sketching holiday at Bosham, Sussex in 1903 with John Q. Pringle who made water-colour sketch at the same time from almost the same viewpoint', signed by James Meldrum the artist's son Condition Report:The watercolor is unframed and on close inspection there is slight discolouration in the paper along the top edge and at the top left edge. slight creasing and small tear in the paper bottom left edge and corner.

THE PROPERTY OF A LADY SAMUEL JOHN PEPLOE RSA (SCOTTISH 1871-1935) STORMY SEA, IONA Signed lower centre, oil on gesso board, circa 1925, 38 x 46cm (15 x 18") PROVENANCE: Aitken Dott & Son Mrs Proudfoot, Edinburgh; Mrs Nisbet, Kirkcudbright 1963, thence by descent. EXHIBITED: Royal Scottish Academy Festival Exhibition, 1949. It was Peploe?s friend, and fellow Edinburgh artist, F C B Cadell who persuaded him to visit Iona in 1920. Cadell had first painted there in 1912 and Peploe would have seen his paintings of the island before the outbreak of war in 1914, in which Cadell served as a private soldier, refusing promotion from the ranks. In 1918 Peploe wrote to his friend, vowing to visit Iona with him to ?recover some virtues I have lost?. But this would not be his first trip to the western isles; in the mid-1890s he had made the first of what became regular annual trips to Barra over the next ten years or so, where he began to paint en plein air and where he met his future wife, Margaret. ·       His visits to Iona with Cadell commenced in 1920 and continued annually until the early 1930s. It was the light at the north end of the island that both artists sought, skies scoured by the westerly winds from the Atlantic and peppered with scudding clouds hovering in sharp blue skies. But Peploe would paint the island in all weathers, blue skies replaced by grey and placid waters whipped up into rows of white breakers with the shoreline rocks seen in darker greys and browns and the sparkle of the sands hidden beneath murkier waters These paintings were exhibited regularly in Scotland where they influenced a younger generation of painters and encouraged them to visit the Hebrides in search of painting grounds The annual exhibitions at the RSA and RGI were rarely without an Iona painting but it was at Aitken Dott, Peploe?s Edinburgh dealers, that they were most regularly to be seen. George Proudfoot, the senior partner at the gallery, became an avid collector of Peploe?s work, ideally placed to acquire the best ? as he did with Stormy Sea, Iona, one of five views of Iona in his collection. Roger Billcliffe Condition Report:On close inspection there are a number of small spots of what appears to be mildew observed over the darker areas of the rocks in the left hand section of the lower left quarter section, extremely light traces of mildew are just detectable over darker passages of the rocks in the foreground and middle section. Again on close inspection a very small fragment of pigment appears to be missing top left quarter section just below the line of the rocks in the water, the ground bearing similar tone as the rocks above. On very close inspection there is just visible extremely light small hair line cracks in some areas of impasto. Artist's pin holes visible at lower left and right corners

AN AFRICAN IKENGA SPIRITUAL FIGURE the horned creature seated on a stool, c.1900, 41cm highProvenance: The figure was brought back to Scotland at the start of the first world war by the vendor's older brother who worked at the Bank of British West Africa.Condition Report:Available upon request

A BESPOKE ART NOUVEAU STYLE PENDANT/BROOCH AND EARRINGS fashioned in yellow and white metal and set with blue and clear paste gems. Dimensions 4.3cm x 4.5cm, the earrings are approx 1cm x 1cm, weight combined 14.3gms Condition Report:These items were made by a goldsmith called Herman who lived and worked in Kirkconnell in Dumfries, he was a German national, which would explain the Jugendstil quality of his work. I have been unable to find out anything more about him. The jewellery is very well made by a craftsman, none of it is hallmarked.

AN 18CT GOLD TWO COLOUR GOLD BROOCH craftsman made and set with a colour change faux amethyst. Length 7.2cm, weight 10.9gms Condition Report:This brooch was made by a goldsmith called Herman who lived and worked in Kirkconnell in Dumfries, he was a German national, which would explain the Jugendstil quality of his work. I have been unable to find out anything more about him. The jewellery is very well made by a craftsman, none of it is hallmarked, this brooch is stamped 18ct. .

An interesting archive relating to Graham Hill, collated by Leonard Weller, who ran The Premier Racing Club, the school where Graham Hill cut his teeth and was a mechanic. In the archive there is correspondance relating to a case in the 1970s of deformation of character, following the publication of his autobiography detailing lack of payment to Graham Hill. Leonard Weller produced cheques on 'This is your life' and following this programme, Graham wrote to Leonard Weller apologising. There is also correspondance from The National Express newspaper, a copy of the script from This is Your Life and various newspaper articles. In addition there is a copy of 'Life at the Limit' signed and dedicated by Graham Hill 'To Len for helping me to start it all!!' two signed postcards, signed letters, a Premier Motor Racing Club badge and early race programmes including Graham Hill's first race 19th April 1954 at Brands Hatch.

1997 book - Hidden talents a dictionary of neglected artists working 1880-1950 signed by the author Jeremy Wood t/w a portrait by H Collier mentioned in the book (page 31) who flourished in the 1930's

Large scale portrait miniature of 3 children (William, Charles Hardcastle (?) & Elizabeth Hewitt sons & daughter of William & Elizabeth Hewitt of Carlton Hall, Suffolk) by Walter Stephens Lethbridge (1771-1831) who attended a print shop / drawing school created by Rudolph Ackermann at 96 Strand, London in 1795+ ~ 17.5cm x 14.5cm -In a black antique frame with original hand blown glass. hHand written details to the reverse. The portrait is slightly bowed & chip to 1 corner of frame & 'nick' on side of frame

19th century ivory and tortoiseshell circular box with gilt metal mounts, the cover with a carved and pierced ivory arch framing two birds, within a gold metal frame, Dia. 7.75cm H2.5cmPLEASE NOTE: THIS ITEM MAY CONTAIN IVORY. Buyers must be aware that regulations of several countries, including USA, prohibit the import of ivory, or any goods containing ivory. Ewbanks advise prospective purchasers who intend to ship this lot to another country that they must familiarise themselves with the relevant import/export regulations prior to bidding. They are responsible for their shipping arrangements and the onus is therefore on them to organise their own shipping.

H.M Queen Elizabeth II and H.R.H Prince Philip. Christmas greetings card from 1961 signed by both Queen Elizabeth and the Duke of Edinburgh and dated 1961 (note that in common with all of these Christmas Cards post 1959, this card is signed with an autopen) the stiff cream folding card featuring an image to the inside of a painting by Sir Peter Paul Reubens of the Christ Child standing on the lap of the Virgin Mary, who sits with her mother, St Anne, and husband, St Joseph. The painting believed to have been obtained by King George I in 1723. With embossed Royal Insignia to the cover. 21.5 x 12cm. Provenance: consigned for sale by the grandson of the Rev. Maurice F. Foxell to whom the card was sent. Maurice Frederic Foxell (1888-1981), KCVO (Knight Commander of the Royal Victorian Order) was a British clergyman, artist, and author. Foxell served as Deputy Clerk of the Closet, the domestic chaplain to King George VI and later to Queen Elizabeth II. His other titles included precentor and sub-dean of the Chapels Royal and, earlier, priest-in-ordinary to George VI. He assisted at the christening of Charles, Prince of Wales and the baptism of Prince Andrew, Duke of York. In his office, he represented the Royal Household at funerals and conducted religious services. He retired from the office in 1965.

Three Ian Fleming first editions James Bond books published by Jonathan Cape, to include: You Only Live Twice (1964), Thunderball (1961) (facsimile dust jacket), Octopussy and The Living Daylights (1966), with seventh impression of The Spy Who Loved Me (1965). (4). Condition Report: All four books have aged well, with no noticeable tears. browning to edges to paper and some foxing to earlier books. Thunder ball has reproduction dust jacket and board bent. yolt some damage to board.

18th century German inlaid walnut bureau bookcase, the broken arched cavetto moulded cornice over a pair of later glazed arched doors enclosing a velvet lined interior, the sloping fall with inlaid foliate scrolls and crowned monogram enclosing stepped pigeon holes and later baize surface, above three serpentine inlaid drawers, on later turned pad feet, H245 approx. W123, D74 cm. Provenance: Understood to have been in the vendor's family since at least 1905. The bureau bookcase was a gift from Darmstadt furniture manufacturer Ernst Joseph Trier to his sister, Marie Sichel (who married into the Sichel wine making family, famed for Blue Nun), on condition that it would be returned to him or his descendants on her death. In 1938 the furniture business was confiscated by the Third Reich and Ernst Trier arrested by the Gestapo. He died later that year. It is believed this piece was brought to Britain along with other possessions when Marie and her family fled Germany to avoid further Nazi repression. She died in London in 1967. The bureau bookcase returned to Ernst's son after her passing.

Enamel signs & vintage Advertising interest - Diadem Flour - An impressive Edwardian local Bristol interest advertising point of sale large size shop display mirror for The Royal Diadem High Grade Double Extra Self Raising Flour. The mirror featuring gold leaf textured lettering over red & black block reading " Diadem " with gold leaf Flour notation below a central painted flour packet. Monogrammed to centre for EBM (Edwin Buller Mitchell (1849-1925) who founded the company in 1890). The silvered foil mirror plate set within a painted wooden frame. The topmost section of the mirror has a heavier degree of foxing however any dirt or paint is to the outer mirror and not the lettering or artwork and is easily removable. The largest example known measuring an approx 183cm x 129cm.

Alex Stewart (b. 1954) - A watercolour on paper painting entitled 'The Philosopher's Egg'. Signed and dated '94 to the lower right with paper label to the verso. Framed and glazed. Painting measures approx; 330mm x 230mm. Frame measures approx; 47cm x 37cm. Born in Halifax, West Yorkshire in the north of England, he has lived and worked in London for 35 years. Since 1993 he has travelled back and forth to Sri Lanka many times. A self taught painter, he loves painting, drawings, music, books, food, some films, some sculpture, not much performance art and all sorts of other things. Influenced by people who are honest and genuine in the world. Encouraged by those who go for their dreams.​

Ray Chapman (20th Century) local Mablethorpe artist. Watercolour painting of a Spitfire 11A in flight. P7666 was a Spitfire 11A made at Castle Bromwich shadow factory. It was paid for by members of the Observer Corps and became the personal aircraft of Squadron leader Don Finlay a pre war Olympic hurdler who was C.O. of 41 Squadron based at Hornchurch in 1940. Frame size approx 25 x 21 inches (Glazed)  COLLECT ONLY.

A framed & glazed 'The Battle of Britain' print featuring all the pilots who fought in the Battle, COLLECT ONLY.

Table clock; France, c.1840.Gilt bronze.Measurements: 49 x 24 x 15 cm.Table clock made of gilded bronze, with a sculptural concept typical of this period. It consists of a stepped base with sharp edges, a reflection of the taste for clean volumes typical of the aesthetics of the time, on which the structure on which the clock case is placed rises, on which we can see the round figures representing a woman dressed in a rich and wide dress accompanied by a man, who holds her in his arms. From the scene, their gestures and the style of dress worn by both, it can be seen that this is a scene of gallantry. This was a very popular genre at the time. Such scenes were very common in the decoration of table clocks, often depicting mythical or religious figures. The clock face has Roman numerals in black on a white background, with black hands.

George II Bracket Clock, signed ROBERT HIGGS. London, first half of the 18th century.Blond mahogany veneered case.Gilt bronze dial with gilt bronze spandrel, exposed pendulum, chime override dial.Calendar of the month. Eight-day winding machine, square plates, engraved on the back, hour chiming on a bell.Measurements: 52 x 30 x 30 cm.English table clock, bracket type, signed by the clockmaker Robert Higgs. Its case is veneered in blond mahogany. It has a front with a simple architectural composition, with a façade topped by a rounded arch raised on a moulded base, which in turn is raised on four bronze legs. The whole has a sloping top with curved angles. It has an arched top handle, which makes the piece very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on gilt, with a gilt centre, and a calendar of the month.A well-known London watchmaker, Robert Higgs is documented as working in Sweetings Alley in London in 1743. He was a member of the Clockmakers Company from 1750 to 1769.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1760s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George III Bracket Clock, signed VALENTIA. England, late 18th century, early 19th century.Mahogany veneered case, bronze applications.Gilt bronze dial with exposed pendulum.Machine with square plates, eight days winding and chime of hours on a bell.Measurements: 56 x 31 x 20 cm.English table clock, bracket type, signed Valentia. Its case is veneered in mahogany with a beautiful natural finish and is enriched with gilded bronze applications. The front has a simple architectural composition with a façade surmounted by a semicircular arch raised on a moulded base, which is in turn raised on four bronze legs. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it is easy to move it. The front of the clock is decorated with garlands and classical vegetal compositions and spandrels, and on the sides there is a glass plate that allows the interior of the mechanism to be seen. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre and a calendar of the month. The second dial functions as an hour chime on a bell and has the option of silencing it.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" or balance regulator. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George III Bracket Clock, signed GEORGE CLERK (active ca.1780). London, last third 18th century.Cabinet case with gilt bronze applications.Dial with Spanish strike-cancelling dial (for the Spanish market).Calendar of the month.Eight days winding machine, square plate, engraved on the back, hour chiming on a bell.Measurements: 53 x 28 x 19 cm.English table clock, bracket type, signed by the clockmaker George Clark. Its case is made of wood, decorated with gilded bronze applications with foliate and rocaille motifs worked in relief. It has an architectural structure, the flanks of which are decorated with stipes with anthropomorphic busts. The corners and the panels surrounding the dial are also made of finely worked bronze with vegetal fretwork in the form of tracery. The dial has Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black on silver, with a gilded centre. The second dial functions as a chime and has an override dial. The Spanish names indicate that the British watch was intended for the Spanish market. The dome, which is stepped in the form of a talud, is topped with a handle and is decorated with bronze appliqués and fruit elements decorating the corners.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

George II Bracket Clock, signed WILLIANS WITHERS. London, 1760.Ebonised case with gilt bronze appliques.Gilt dial with gilt bronze epandrels, strike cancel.Month calendar.Machine, eight days winding, square plates, engraved back, hour strike on a bell.Measurements: 49 x 26 x 16,5 cm.English table clock, bracket type, signed Williams Witer. It is made of ebonised wood and is enriched with gilded bronze applications. It has a front with a simple architectural composition, with a façade topped by a round arch raised on a moulded base. The whole has a sloping top with curved angles. The piece has an arched top handle, which makes it very functional, as it can be easily moved. The front of the clock is decorated with garlands and classical vegetal compositions, while the sides of the clock have a glass plate that allows a view of the inside of the mechanism. The dial features Roman numerals (for the hours) and Arabic numerals (for the minutes) engraved in black, with a gold centre, and a calendar of the month. The second dial functions as an hour chime on a bell.Bracket clocks of English origin are notable mainly for their mechanism, but also for their decoration. This type of clock originated in the 1960s, when the pendulum was applied to the clock, replacing the previous "foliot" regulator or balance. This change made it necessary to provide the mechanism with a case to protect it from shocks that could alter its movement. This was the origin of the watches known in England as brackets, i.e. portable watches. These were short cases which housed a mechanism held between two thick plates and contained, as the driving force for each train, a combination of a hub and a snail. These clocks were originally intended to be placed on a bracket, hence their English name. This bracket was a separate piece that was usually made at the same time, with decoration to match the clock. Later, however, the base and clock began to be made separately.The English developed a watchmaking mechanics distinct from that of the rest of Europe, based on an industry of specialised workshops producing products of great technical perfection. The cases were made by cabinetmakers who enriched the watches, turning them into real jewels. For this reason, throughout the 18th century English clocks and watches were evidence of the stylistic evolution that developed in English cabinetmaking, starting with the William and Mary and Queen Anne models, passing through the Chippendale and Hepplewithe styles and finally returning to classicism with the Adam, the Sheraton and finally the Regency. As for the specific type of bracket clock, it maintained its elegant and stately appearance throughout the 18th century, and by the end of the century the cases would be larger and more monumental.

RACHEL JONES (B. 1991)Spliced Structure (7) 2019 signed and dated '19 on the overlapoil, oil stick and oil pastel on canvas190.3 by 250.3 cm.74 15/16 by 98 9/16 in.Footnotes:ProvenanceThe Sunday Painter, LondonAcquired directly from the above by the present owner in 2019A commanding and vivid canvas, Rachel Jones' Spliced Structure (7) is a masterwork that is enlivening to behold, demonstrating an exuberance and painterly confidence that intensely stitches together ideas of identity and corporeality. Across passages of fervid reds and greens, laid down with spirited flourishes of oil stick and paint, Jones' intensive strokes reveal grinning teeth that emerge from a luscious surface. One of the most highly sought-after artists to emerge in recent seasons, Spliced Structure (7) is a sterling example by an artist who continues to go from strength-to-strength, following her recent solo exhibitions at Thaddaeus Ropac in London [SMIIILLLLEEEE], and the Chisenhale Gallery [say cheeeeese] that will run until June 2022.A graduate of the Royal Academy Schools – an institution that counts Issy Wood and Michael Armitage amongst its alumni – Jones' is one of a nascent generation of artists who have injected vigour and soul back into the painterly medium. This is resplendently clear in the present work not only in the vivacity of Jones' mark-making, but also in the ideas that underpin her practice at large. The body is Jones' primary subject, and yet the figure remains starkly absent. It becomes an abstraction, an interiority that the artist translates into an all-encompassing composition – filling and consuming the spectator's gaze. In this way, the mouth has emerged as a motif of great significance in Jones' works, pictured as the opening to an internal landscape that the artist illuminates with each gesture, kept at bay behind a grill of ivory teeth. 'I am very interested in placing my history and my relationship to painting within the work. It's really meaningful to have people interrogate those ideas and to think about them. [...] you can make artwork from a place of feeling, and that's enough of a reason to make something, because I think that's the truth of it,' Jones has commented: 'Anything that's produced, it comes from some sort of desire or a need, and all of those things are emotional and physical reactions in our body' (the artist in: Amah-Rose Abrams, 'Meet Rachel Jones, an Ascendant Painter Whose Jitteringly Electric Paintings Have Captivated Viewers in London and Collectors Worldwide', news.artnet.com, 3 January 2022). Painting to Jones is a wholehearted, embodied activity, executed with feeling and intent that can only truly emerge from a reconciliation between body and psyche. To gaze upon Spliced Structure (7) is to engage with Black British womanhood, with Black joy, with the Afro-Caribbean and diasporic communities across London and the UK. It does this, however, without leaning on didacticism as a narrative method. The painting is pure experience: it is about the internal experience of its author, as that relates to the outward experience of the work's spectator.A patchwork of scumbled paint and sketched oil stick over lucid primary colours, the present work is filled with sumptuous details and passages that draw the eye into its surface, evoking the intensity of Joan Mitchell canvases. Most recently celebrated at the Hayward Gallery exhibition Mixing It Up: Painting Today, an exhibition that placed Jones alongside Peter Doig, Jadé Fadojutimi, Lisa Brice, Somaya Critchlow, and Hurvin Anderson, amongst others, her influence and public acclaim is ever-growing. Her multimedia commission at the Chisenhale Gallery promises to further and deepen her prominence as one of the leading artistic voices today.With works residing in the collection of the Institute of Contemporary Arts, Miami; the Arts Council Collection, UK; the Museum of Fine Arts, Houston; the Tate collection, UK; and the Hepworth Wakefield, Jones is one of the most exciting and desirable artists to public institutions and private collections alike. Spliced Structure (7) is a monumental and impressive painting that captures Jones' practice at its most vibrant and ambitious.This lot is subject to the following lot symbols: AR TPAR Goods subject to Artists Resale Right Additional Premium.TP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

KONRAD LUEG (1939-1996)Untitled circa 1963 signed and dedicated Mit Bleistift Für Anja on the reverse casein on cardboard plate 23.5 by 16.5 cm. 9 1/4 by 9 1/4 in. This work was executed circa 1963. Footnotes:Provenance Collection of the artist, DusseldorfGift from the above to the present owner in 1980A seminal protagonist in the German post-war art scene, Konrad Lueg is better known as Konrad Fischer, the legendary gallerist who represented artists such as Carl Andre, Bruce Nauman, Thomas Schütte, Sol Lewitt and Robert Ryman to name but a few. Having attended the Düsseldorf Academy, where he studied under Karl-Otto Götz until 1962, Lueg, took his mother's maiden name as an artist. Around 1963, Lueg alongside fellow classmates Gerhard Richter, Sigmar Polke and Manfred Kuttner, founded the Capitalist Realist movement, the West German version of British and American Pop Art, to critique the rise of American capitalism, the growing commercialization of the art market and bourgeois values in West Germany. The group appropriated the iconography of mass media, caricaturing consumer culture at the time of the West German 'Wirtschaftwunder' and famously invaded retail spaces as part of their practice. Paintings would feature cars, socks, chocolate, a kitschy idealization of Neuschwanstein Castle and as seen in the present work, the humble sausage, a theme also portrayed by Roy Lichtenstein at the same time in America. In the legendary 1963 Living with Pop performance, Gerhard Richter and Konrad Lueg invited visitors to a Dusseldorf furniture store where they were seated on pieces of furniture from the store's inventory, placed on pedestals as works of art. They wore suits and the daily news played in the background. In the Kaffee und Kuchen happening in 1966, Lueg invited friends and colleagues to have coffee and cake, this time in the important Alfred Schmela gallery in Düsseldorf. To challenge the perception of art galleries and what constitutes an artwork, Lueg had covered the entire space in his own wallpaper and Gerhard Richter showed a portrait of Schmela himself during the event.Solo exhibitions of Konrad Lueg's work have been held at Konrad Fischer Galerie, Berlin (2019); Greene Naftali, New York (2019, 2013); Herbert Foundation, Ghent (2018); Museu d'Art Contemporani de Barcelona, Spain (2010); Museum voor Actuele Kunst, Ghent (2000): and PS1 Contemporary Art Center, Queens, New York (1999). Lueg's work has been featured in significant group shows including Painting 2.0: Expression in the Information Age (Museum Brandhorst, Munich, 2015); International Pop (Walker Art Center, Minneapolis, 2015); and Living With Pop: A Reproduction of Capitalist Realism (Kunsthalle Düsseldorf, 2013; travelled to Artists Space, New York, 2014), among others. His work is in the permanent collections of museums such as the Barcelona Museum of Contemporary Art; Dallas Museum of Art; Kröller Müller, Otterlo, The Netherlands; Museum of Fine Arts, Boston; The Museum of Modern Art, New York; Städel Museum, Frankfurt; and the Walker Art Center, Minneapolis.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

FRANK AUERBACH (B. 1931)Portrait of Debbie Ratcliff III 1984 oil on canvas 66 by 66 cm. 26 by 26 in. This work was executed in 1984.Footnotes:Provenance Marlborough Fine Art Ltd., London (no. 35238.6)Acquired directly from the above by the present owner in 1984 ExhibitedVenice, XLII Biennale di Venezia, British Pavilion, Frank Auerbach: Paintings and Drawings 1977-1985, 1986, p. 50, no. 32, illustrated in colourHamburg, Kunstverein; Essen, Museum Folkwang, Frank Auerbach, 1986-1987, p. 72, no. 37, illustrated in colourMadrid, Museo Nacional Centro de Arte Reina Sofía, Frank Auerbach: Retrospectiva, 1954-1985, 1987, p. 68, no. 37, illustrated in colourLiteratureRobert Hughes, Frank Auerbach, London 1990, p. 208, no. 215, illustrated in black and whiteWilliam Feaver, Frank Auerbach, New York 2009, p. 294, no. 505, illustrated in colourFrank Auerbach's Portrait of Debbie Ratcliff III is a masterly and empathetic painting which formed the third of a trio of portraits of his model and muse Debbie Ratcliff that were first unveiled at the 42nd Venice Biennale in 1986, where Auerbach was awarded the Golden Lion, sharing the prestigious prize with Sigmar Polke. Hailed as one of the most influential painters of the 20th century, Frank Auerbach is celebrated for his expressionistic portraits and cityscapes characterised by his distinctive and gestural impasto technique. Auerbach was born in Berlin in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially Auerbach was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive debut solo-shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the School of London, a group that included Lucian Freud and Francis Bacon. Bacon shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human expression. However, despite his affiliation with the School of London artists and comparisons to Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux Arts Gallery until 1963, before joining Marlborough Gallery in 1965. Today his works are amongst the most internationally collected and desirable amongst all living artists. Beautifully positioned within the square canvas, Debbie Ratcliff sits composed and elegant, her angular shoulders asymmetrically filling the composition. Auerbach employs rich swathes of crimson, green hues, and vibrant yellows to build his portrait. There is a meditative, emotional quality to his paint; Auerbach's heavy impasto can take months to build up and scrape back, he paints slowly and methodically revealing an intense observation of his subject. He makes his mark with authority and finality, pushing abstraction to the limit while still capturing the essence of his sitters. Auerbach first met Ratcliff at the Slade School of Art in 1983. He was reportedly drawn to her strongly defined features and initially had her pose reclining on a bed. It was in the second sitting that Auerbach decided to seat her instead on a chair facing him; the pose would continue in all three of these portraits the artist created of her. Over the course of Ratcliff's sittings for him, the two would come to relax in one another's presence, enjoying conversations about art and literature. Auerbach is credited with making some of the most impressive, vibrant, and intuitive portraits of the post-war years. A true draftsman as well as a painter, his graphic works, his signature thick black lines and the concerted mark-making that he employs give his sitters a flickering quality of energy. His method requires an intimate knowledge, not only of his sitter's physiognomy, but also their temperament and personality and most of Auerbach's sitters posed for him every week, often over many years. Connections were important to Auerbach, who despite the physical immediacy of his brushwork, ultimately undertook long and studied contemplations of his subjects. He has attested to finding himself simply more engaged when he knows the people, as they get older and change, enjoying the process of recording this in paint. Auerbach's portraiture features a number of long-standing sitters, including, his wife Julia, Catherine Lampert, Gerda Boehm, Stella West, 'J.Y.M.' and as seen in this present work, Debbie Ratcliff. Auerbach's distortions in his portraits have been likened to Francis Bacon's figures. However, perhaps unlike Bacon, a warmth emanates from the former's portraits. In Portrait of Debbie Ratcliff III, Auerbach's muse is cast as an impression instead of a likeness. Painting only those whom the artist has formed an intimate bond with, the paintings teeter on incomprehensibility. Auerbach's prolonged engagement with Ratcliff throughout the course of her sittings nonetheless captures a spirit in its fleeting and mercurial beauty. The rapid and vivid strokes perceive an individuality, a humanity. Portrait of Debbie Ratcliff III is a painting of life in action. An individual in the throes of contemplative personal eminence. Frank Auerbach is widely recognised as one of the most inventive and influential painters of the Post-War period. In 1978, the artist was honoured with a retrospective at London's Hayward Gallery and in 2015, London's Tate Britain, in partnership with Kunstmuseum Bonn, mounted another major retrospective of his work. Today, his paintings reside in the prestigious permanent collections of the Tate Gallery and National Portrait Gallery in London; Museum of Modern Art and The Metropolitan Museum of Art, in New York; and the Museo Nacional Thyssen-Bornemisza in Madrid, among many others.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

HOWARD HODGKIN (1932-2017)Girl in a Museum 1958-1960 signed on the stretcheroil on canvas 101.3 by 71 cm. 39 7/8 by 27 15/16 in.This work was executed in 1958-1960. Footnotes:ProvenancePeter Cochrane Collection, London Thence by descent to the present ownerExhibitedLondon, Arthur Tooth & Sons, Howard Hodgkin, 1962, no. 4, illustrated in black and white Bochum, Städtischen Kunstgalerie Bochum, Profile III: Englische Kunst der Gegenwart, 1964, no. 78, illustrated in black and whiteOxford, Museum of Modern Art; London, Serpentine Gallery; Leigh, Turnpike Gallery; Newcastle upon Tyne, Laing Art Gallery; Aberdeen, Aberdeen Art Gallery; Sheffield, Graves Art Gallery, Howard Hodgkin: Forty-Five paintings 1949-1975, 1976 Berlin, Galerie Haas & Fuchs, Howard Hodgkin, 2004LiteratureMarla Price (Ed.), Howard Hodgkin: The Complete Paintings Catalogue Raisonné, London 2006, p. 44, no. 9, illustrated in colourÅsmund Thorkildsen, Howard Hodgkin The Thinking Painter of Embodied Memories, Milan 2011, p. 14, illustrated in colourIn 1962, the celebrated English artist Howard Hodgkin presented his first solo exhibition at the prominent London gallery, Arthur Tooth & Sons. Founded in 1842, the gallery hosted many exhibitions over the years by important artists including Dame Barbara Hepworth, Allen Jones, Antoni Clavé and Jean Dubuffet to name only a few. The exhibition, Howard Hodgkin: An exhibition of recent paintings, in which the present work was included, was met with widespread acclaim as declared by the art critic Edward Lucie Smith: 'It is with sad truth that English artists usually have little sense of the 'absolute'. By which I mean that they seldom have either the stamina or the courage to pursue their own discoveries, or even their own feelings, to the bitter end. Howard Hodgkin, by contrast, is a painter with a wholly refreshing rigour, a talent not just for bold design, but for the intellectual organisation of things. Yet he remains in love with the medium. His work has none of the drabness which is too frequently associated by modern artists with pretensions to intellect. He knows that true austerity need by no means be dismal, and the result is some of the most exciting and original colour harmonies I have seen for years...' (Edward Lucie Smith, Howard Hodgkin: An exhibition of recent paintings, www.howard-hodgkin.com, 9 March 2022).Painted during a pivotal moment in Hodgkin's career, the present work captures a point between the earlier figurative portraiture favoured by the artist in the 40s and early 50s and the more mature expressive and abstract gestural strokes. Whereas works such as Memoirs, 1949 – which illustrates the artist and a friend in a domestic setting - are executed with geometric shapes and bold graphic outlines, Girl in a Museum from 1958-60 is painted in a much looser style and unencumbered by limitations of structure. It is here that we start to see how Hodgkin would break away from the traditional confines of painting and would explore beyond the picture plane, utilising the frame as an inclusion of his work in his highly emotive and eloquent abstractions. Girl in a Museum is a devotion of colour, form, and texture. A young girl is depicted mid-motion, seemingly caught between the foreground and the background of the surface. Her torso is partly ensconced by the horizontal stripes in the upper half of the canvas as her eyes peer out towards the viewer. Only one arm sticks out defiantly as if reaching for something or someone that we cannot see, meanwhile the lower half of her body is free from constraint and the bold red on her legs draws the eye down the surface and is contrasted against the emerald tones of the horizontal lines. From the title we can deduce that the girl is visiting a museum, however there is no indication of the nature of museum or indeed any representation of the institution at all. Instead, the figure has taken the centre stage of the painting as both the viewer and the girl are caught in a fleeting moment filled with the energy and intensity of the artist, skilfully communicated through Hodgkin's masterly interplay of gesture and movement. Widely exhibited, this work was originally acquired by John Peter Warren Cochrane, who was a director at Arthur Tooth & Sons. Aside from his career as an art dealer, Cochrane was also a keen collector with an astute eye and devotion to championing young British artists. Cochrane would collect several works from Hodgkin including the present lot, which was treasured in his private collection for many years. This fondness for the artist was clearly reciprocated as Cochrane became the subject for a portrait Hodgkin would execute in the same year as the solo exhibition. Now in the prestigious collection of the National Portrait Gallery, London, (John) Peter Warren Cochrane, 1962 is an arresting depiction of someone Hodgkin clearly admired. Rendered with a compositional flatness that evokes the simplification favoured by Henri Matisse, there is a sense of assuredness and calm from the sitter but also a respect between the artist and subject. In 1984 Hodgkin represented Great Britain at the Venice Biennale and the next year he was awarded the Turner Prize. With a career spanning over seven decades and with paintings residing in museums internationally, including the Museum of Modern Art, New York; the Museu de Arte Contemporanea de Sao Paulo, Brazil; and the Centro de Arte Moderna, Lisbon, Girl in a Museum presents a wonderful opportunity to acquire a very early and rare work with wonderful provenance by one of the most celebrated and acclaimed contemporary British painters.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