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

Tyne Daly and Sharon Gless 14x12 approx Cagney and Lacey mounted signature piece includes two signed album pages and a Cagney and Lacey colour photo. Cagney & Lacey is an American police procedural drama television series that aired on the CBS television network for seven seasons from March 25, 1982, to May 16, 1988. The show is about two New York City police detectives who lead very different lives: Christine Cagney (Sharon Gless) is a career-minded single woman, while Mary Beth Lacey (Tyne Daly) is a married working mother. The series is set in a fictionalized version of Manhattan's 14th Precinct (known as "Midtown South"). The pilot movie had Loretta Swift in the role of Cagney, while the first six episodes had Meg Foster in the role. When the show was revived for a full season run, Gless portrayed the role for six consecutive years. Each year during that time, one of the two lead actresses won the Emmy for Best Lead Actress in a Drama (four wins for Daly, two for Gless), a winning streak matched only once since in any major category by a show. Good condition Est.

Paul McCartney signed 10x8 colour photo. Sir James Paul McCartney CH MBE born 18 June 1942 is an English singer, songwriter, musician, and record and film producer who gained worldwide fame as co-lead vocalist, co songwriter, and bassist for the Beatles. His songwriting partnership with John Lennon remains the most successful in history. After the group disbanded in 1970, he pursued a solo career and formed the band Wings with his first wife, Linda, and Denny Laine. Good condition Est.

HMS Hood. 8x10 inch photo hand signed by Ted Briggs, who at the time of signing was the last living of only three men to survive the sinking of HMS Hood by the German battleship Bismarck. Good condition Est.

Oliver! 8x10 inch photo from one of the great British musicals, signed by actor Mark Lester who has added the immortal line Can I have More Please to his signature!. Good condition Est.

Doctor Who 8x10 photo signed by Twelve stars who appeared in the series, these are, Bernard Cribbins, Thelma Barlow, Philip Voss, Michael Kilgarriff, Victoria Alcock, Sheila Reid, Isla Blair, Julian Glover, Caroline Munro, John D Collins, Velile Tshabalala and Leslie Ash. Good condition Est.

007 Bond girl, lovely 8x10 photo signed by Goldfinger actress Shirley Eaton who has also added her quote from the film "I'm beginning to like you Mr Bond" unusual and rare. Good condition Est.

Mr Benn 8x10 photo signed by series narrator Ray Brooks who has added the series catchphrase "As if by magic" to his signature. Good condition Est.

007 James Bond 8x10 The Spy Who Loved Me montage photo signed by Caroline Munro. Good condition Est.

The Addams Family 8x10 photo signed by actress Lisa Loring who played Wednesday in the series. Good condition Est.

David Kelly 16x12 Fawlty Towers mounted signature piece includes signed album page and a colour photo from the hit BBC comedy series mounted to a professional standard. David Kelly (11 July 1929 - 12 February 2012) was an Irish actor who had regular roles in several film and television works from the 1950s onwards. One of the most recognisable voices and faces of Irish stage and screen, Kelly was known for his roles as Rashers Tierney in Strumpet City, Cousin Enda in Me Mammy, the builder Mr O'Reilly in Fawlty Towers, Albert Riddle in Robin's Nest, and Grandpa Joe in the film Charlie and the Chocolate Factory (2005). Another notable role was as Michael O'Sullivan in Waking Ned Devine. Good condition Est.

June Whitfield and Terry Scott 12x12 mounted Terry and June signature piece. Terry and June is a BBC television sitcom, which was broadcast on BBC1 from 1979 to 1987. The show was largely a reworking of Happy Ever After, and starred Terry Scott and June Whitfield as a middle-aged, middle-class suburban couple, Terry and June Medford, who live in Purley. Good condition Est.

Nigel Mansell 15x11 approx Williams Formula One mounted signature piece includes signed album page and colour photo during his time with Williams in Formula One mounted to a high standard. British former racing driver who won both the Formula One World Championship (1992) and the CART Indy Car World Series (1993). Mansell was the reigning F1 champion when he moved over to CART, becoming the first person to win the CART title in his debut season, and making him the only person to hold both the World Drivers' Championship and the American open-wheel National Championship simultaneously. Good condition Est.

Mary Swanzy HRHA (1882-1978)Cubist Landscape, Trees, HousesOil on canvas, 34 x 47.5cm (13¼ x 18½'')Provenance: With Pyms Gallery, London, label verso; With Peppercanister Gallery, Dublin, from where purchased by the current owner.Mary Swanzy 1882-1978 was introduced to Picasso's early cubist paintings in 1906 in Paris at Gertrude Stein's home. She was one of the first Irish painters to investigate the new way of seeing, not for her the school of André Lhote or Albert Gleizes, the masters who informed the important work of subsequent Irish cubists Mainie Jellett and Evie Hone.In the 1920s she regarded herself primarily as a landscape painter and here in Cubist landscape, trees, houses we see her unique interpretation of the major modernist trend. Her use of dynamic, elliptical shapes alongside diagonals creates an energy and movement in this painting reminiscent of Italian Futurist paintings of a similar period.Swanzy's facility for beautifully balancing colour with form creates a distinct tension. While her continued use of perspective, against the laws of cubism, creates a sense of depth, despite the flattened picture plane. As with so many of her cubist paintings Swanzy's love of mathematics especially the geometry of her native Georgian city is very much in evidence.Liz Cullinane, 2021

Colin Middleton RHA RUA MBE (1910-1983)Abstract with Toy TrainOil on board, 90 x 90cm (35½ x 35½'')Signed with monogramProvenance: : Commissioned by Noel Campbell for Morelli's icecream parlour on the Promenade, Portstewart, Co. Derry, circa early 1970s. Literature: Dickon Hall, Colin Middleton: A Study, Joga Press, 2001, full page illustration, page 79  The variety and range of Colin Middleton's work is often commented on as its most notable aspect. Closer acquaintance with it reveals a unity that carries between styles and periods, both in technique and imagery. In each painting Middleton seems to be looking forward and back. Throughout the six decades that he painted, Middleton never left his initial training as a damask designer far behind, although at times this influence is almost submerged within paintings. Middleton's move to the north coast of Northern Ireland in the late 1950s marked a sharp break in his work; he found a landscape and, through this, a manner of painting that coalesced to express the point at which he found himself as a man and as an artist. During this period, Middleton seems to have been ready to re-introduce elements of his design background into his painting. This work demonstrates the complexity of design and visual inventiveness of which Middleton was capable. The series was painted for Morelli's cafe, famous as an ice cream parlour, on the seafront in Portstewart. This was arranged by Noel Campbell, a local architect who had been instrumental in a number of commissions for murals Middleton received in the late 1960s and 1970s. It was as rare then as it is now in Northern Ireland for an artist to be thus involved in architectural projects, so this panel has an historical resonance as well as occupying a very particular place within Middleton's career. The planned location, an ice cream parlour in a holiday town, might well have influenced their bright colours and energetic exuberance, as well as a choice of imagery likely to appeal to children. There are no known photographs of the panels installed in Morelli's, or any record of how the paintings were intended to be arranged. The diverse formats suggest that the location imposed certain demands upon the artist; the square format of two of the paintings was almost ubiquitous in Middleton's work at this time, but the elongated panels are unusual. The cross-fertilisation of ideas does suggest that they were closely hung to be viewed together. One panel (lot 27) dominates by virtue of the multitude of ideas with which it seems to vibrate. A simplified rendering of what appears to be a llama or alpaca is repeated on various scales, overlapping and creating a dizzying and confused sense of spatial recession. Small panels are placed within these with simplified and angular depictions of fish, a cockerel, a dog and a cat. The latter two recall the notation of Ancient Egypt and the dog is highly reminiscent of depictions of Anubis, the Egyptian jackal headed god (the alpaca might also be read as an image of a Pharaoh dog). In fact these panels carry some overtones of the Egyptian Book of the Dead. The alpaca shape is subtly repeated in the forms of the little house, the train and the girl, all reminders of the holiday spirit. A similar fish image was used by Middleton for the sign of a fish and chip shop in an early painting of Belfast, presumably here another reminder of summer in Portstewart. Middleton's vocabulary is derived from the shapes of objects in the visible world which over decades he has pared into the most visually effective and communicative signifier capable of carrying its meaning. These panels are more than just narrative, although they seem to contain so much. It is up to the viewer to find a personal interpretation or just to enjoy their stimulating presence.  Dickon Hall

Evie Hone HRHA (1894-1955)CompositionOil on canvas, 84 x 105.5cm (33 x 41½'')Provenance: Sale, de Vere's, Dublin 15/06/2010, lot 15Every day, Evie Hone’s work is viewed by the pupils of Eton College. In 1948 Hone won the international competition to design a replacement of the huge east window in Eton College Chapel which had been destroyed in the war. In a masterwork of deep colours, Hone depicted the Crucifixion and the Last Supper and it was, according to Anne Crookshank, ‘one of the most exciting commissions of the period in these islands’. And Hone’s stained glass window My Four Green Fields, exhibited at New York’s World Fair in 1939, now illuminates the main staircase in Government Buildings.Eva Sydney Hone was born in Dublin on 22 April 1894 and belongs, in Nicole Arnould’s words, to ‘the Hone family which has provided Ireland with a number of gifted artists [Nathaniel Hone and Nathaniel Hone the Younger] over the centuries’. Tate Britain cites Evie Hone as ‘an outstanding religious painter of modern Ireland and a stained glass artist of international stature’ and her watercolours, oils and gouaches complement the windows she designed for Catholic and Protestant churches and secular institutions throughout the country.Having contracted polio as a child, Hone suffered ill-health throughout her life but she was determined to be an artist. She studied at the Byam Shaw School of Art, an independent art school in London, at Westminster School of Art and was also instructed by Walter Sickert. She worked with Bernard Meninsky who advised her to go to Paris where she and fellow-artist Mainie Jellett, in the early 1920s, were taught by André Lhote, a Cubist, and, later, she worked with Albert Gleizes whom Jellett described as ‘the leader of the most severe type of abstract work without any realistic basis’. Gleizes showed Hone and Jellett what he termed ‘the substantial, rational explainable method of building up a picture without having recourse to representation’.Deeply spiritual, Hone, in 1925, when she was thirty-one, entered an Anglican convent in Truro, Cornwall and spent two years there. Following her time in the convent, Hone converted to Roman Catholicism but returned to painting in early 1928 and in 1931 Hone joined An Túr Gloine [The Tower of Glass] a stained-glass artists’ co-operative, which Sarah Purser had founded in 1903. Hone began concentrating on making stained glass from 1933 and in Marley, in the 1940s, following the closure of An Túr Gloine, Hone set up her stained glass workshop.When Abstraction-Création, was founded by eight artists in Paris, in 1931, to mark non-figurative art, Hone was invited to contribute and write a manifesto. Hone wrote to Gleizes and Bruce Arnold sums up Hone’s manifesto with its three objectives as follows: ‘The first is the satisfaction of the artist’s sense of beauty through colour and form used in harmony and deriving life and rhythm from the painting itself. The second is the justification of the artist’s spiritual nature through an entirely new dependence – on form, on rhythm, on colour. The third was an approach to truth which she related to Irish roots in Celtic art, the abstract motivation of which she saw as a purifying condition.’ These ideas find expression in Evie Hone’s Composition. Though undated there is no doubting that this oil on canvas is a major work of pure form and colour. Within the frame, Hone has outlined her own frame in dark green, deep ochre, black. Within this rectangular shape the work is alive with a dynamic harmonious energy and, as its title suggests, Composition celebrates what Hone identifies as colour and form in what is both a circular and asymmetrical structure. According to Brian Fallon, Hone, ‘courageous and independent-minded’ is ‘gifted with energy’ and that energy is seen here in the circular motion, the assured command and choice of colour, in that delicate, squiggly, playful line lower-right. This painitng would make a brilliant abstract stained-glass window and represents what Dorothy Walker ‘the inimitable pioneering work’ of Evie Hone. Bright colours, yellow, orange, red, dominate but varied blues and greens, purples and browns create a marvellous contrast as the eye follows the composition’s concentric movement and enjoys the many different shapes as Hone builds her picture with rhythmic brushwork.Evie Hone lived in the Dower House, Marlay, Rathfarnham and was one of the founders of the first Irish Exhibition of Living Art in 1943. She died on 13 March 1955 and by then this avant-garde artist had created an impressive body of work including this distinctive and unique Composition.Niall MacMonagle, October 2021

Daniel O'Neill (1920-1974)Looking WestwardOil on board, 41.5 x 61.5cm (16 x 24'')SignedProvenance: With The Waddington Galleries, mounted, label verso; sale, de Vere's.O’Neill returned many times to female subjects within west of Ireland landscapes, using a stylised and idiosyncratic format, and often placing them within deserted open spaces, sometimes standing on the roadside, or as in this instance overlooking the shoreline. While it is not typical of the artist to use such an array of bright colours, the palette chosen is made up of a striking variety of tones. O’Neill uses the colour as line in the work, separating off the different sections of the composition. From the green and purple tones of the flowers, the sandy beach leading to the clear blue of the sea dotted with patches of white to represent the light reflecting off the surface.The background is dominated by varying tones of blue, moving seamlessly from sea, to mountains to sky. O’Neill uses thick impastoed brushstrokes to capture the luscious vegetation, rendered in green and purple tones. The application of quick upright strokes creates a sense of movement in the image, we can imagine the heather and gorse bushes swaying in the wind. It is a harmonious and peaceful landscape that is somewhat unsettled by the presence of the figures. We are not given much insight into who they are or who they are waiting for. The young woman positioned in the foreground looks not directly at the viewer but off to the horizon on the left. She is mirrored by a second figure who stands in profile, possibly an older woman, with a white scarf around her head and shoulders also looking out across the bay. This imagery is reminiscent of other artworks by Irish painters focused on women waiting, possibly for the return of husbands and sons, or representing the desire to leave, looking westward across Atlantic.Niamh Corcoran, November 2021

Tony O'Malley HRHA (1913-2003)Bahamas Painting with White Shape, Oct/Nov 1987Oil on board, 64 x 76cm (25 x 30'')Signed with initials and dated; also signed, inscribed with title and dated verso and numbered 1908 in the artist's oeuvre. When Tony O’Malley and Jane Harris married in 1973, they settled into their home at Seal Cottage, St Ives, Cornwall and their communal studio, where they worked side by side. While they were happy and productive, Jane was always conscious that living permanently in a cool, damp climate was less than ideal for Tony, because he has survived TB and was prone to angina. At the same time, he drew inspiration from his environment and was especially attuned to the historical texture of place.At a family gathering following the death of her mother in 1974, Jane’s sister Clarice, who was living on Paradise Island in the Bahamas, suggested that they should all visit her there. It was beyond Tony and Janes financial means but here father generously paid for their flights (and for the following twelve winters, until her sister moved to Florida). The balmy environment was hugely beneficial to Tonys health. Less predictably, it proved to be profoundly inspiring for his work.With scant traces of the legacy of ancient history (just the remains of one monastery), and working in an outdoor studio set up in the idyllic garden, he became intensely alert to the living fabric of the place. Birds in flight, birdcalls, birdsong, fish darting in the water, breezes, currents, luminous flushes of colour, a pervasive brightness: all these things and more fed into a series of lively, lyrical evocations of a magical place. The Bahamas provided him with a whole new high-keyed palette. Even the warmth and light of the Scilly Isles had not provided a comparable sense of warmth and well-being. The paintings were a revelation when they were exhibited back in Ireland.Aidan Dunne

Basil Blackshaw HRHA RUA (1932-2016)DogPastel and oil on paper, 51 x 69cm (20 x 27'')SignedProvenance: Formerly in the collection of Independent News and Media (INM).Literature: Basil Blackshaw - Painter, Brian Ferran, plate 29, page 101Animals – particularly horses and dogs – were central to Basil Blackshaw’s life and work. A life-long country dweller who never really took to the city, he was the youngest of seven siblings. His father was a horse trainer, and the household was steeped in equestrian culture, with horse people and dog breeders constantly passing through, and the animals themselves ever-present. Blackshaw’s art is always specific: places, people and animals are never just generic presences. In the 1970s he made paintings based on the connections between human and animal, often concentrating on the intense rapport they can develop. By the end of the decade, he had begun, like Stubbs, to consider the animals as solo portrait subjects in their own right, usually depicted in the open air, without additional, distracting detail, and giving them – horses, dogs and cockerels bred for illegal fights - the kind of attentive consideration normally devoted to humans.He made a series of paintings of lurchers and of  Staffordshire Bull Terriers, sturdy, stocky, muscular dogs of strong character, thought to have been bred as fighting dogs (long outlawed) but always valued as pets. Blackshaw’s vivid, precise accounts of the animals, as here, are clearly based on long familiarity with and regard for the breed. His closely related painting, Pair of Stafford Terriers, featured in the international touring exhibition, Six Artists from Ireland, in 1983.Generally regarded as one of the finest Irish artists of the 20th century, Blackshaw was born in Co Antrim (the family soon moved to Co Down). Precociously gifted, he was accepted at art college aged just 16 and went on to achieve great critical and public acclaim. His painting is unfailingly honest, direct and unaffected. It remained rooted in his immediate, rural life and surroundings: landscape, animals, the human figure and portraits were his subjects. His work is included in numerous public and private collections.Aidan Dunne, October 2021

Sir Thomas Lawrence P.R.A. (Bristol 1769-1830 London)Portrait of Jane Allnutt with her pet spaniel, within a painted oval oil on canvas, unlined61 x 50.4cm (24 x 19 13/16in).Footnotes:ProvenanceLeft by the sitter to her half-brother John Allnutt (1803-1881)Violet Susannah Knox, his daughter Vicesimus John Knox, her sonHolliss Allnutt Knox, his son, and thence by descent to the present ownerThe enchanting subject of this unrecorded portrait by Lawrence is Jane Allnutt (1818-1845), the daughter of one the artist's more significant patrons whose family had made their fortune in the wine and brandy trade in the 18th century. John Allnutt (1773-1863) lived in some style in a palatial home in then-rural Clapham, and used his considerable wealth to buy from the great artists of the day; works by Constable and Turner graced the walls of the family home including the latter's The Devil's Bridge, St. Gothard of circa 1803-4 which bore a label in John's hand recording that he had gifted the painting 'to my daughter Jane.' In addition to a full-length portrait of John by Lawrence, we know he painted several other portraits of the family, amongst which a second study of Jane painted in 1826. Judging from that unfinished portrait (K. Garlick, Sir Thomas Lawrence, 1989, no. 21) we can assume that the present study was painted around 1821-22 when Jane was three or four. Like the 1826 portrait, it has descended through the sitter's family after her death in 1845, the year of her marriage to Henry Carr (1817-1888) at Holy Trinity Church, Clapham. Lionized by the aristocracy, Lawrence was known for his good nature and charm, although his closest friendships were amongst the professional men and their families who were his earliest patrons. Not least of these were the families of John Julius Angerstein, Sir Francis Baring and indeed John Allnutt, who is known to have helped Lawrence in his financial difficulties: £5,000, for example, is said to have been paid to Allnutt following the artist's death.Many of Lawrence's best portraits during the last decade of his life were of children: indeed, his importance in this regard was recently recognised when the National Gallery in London agreed to buy the artist's celebrated Red Boy for £9.3 million. This dazzling tour de force (which was the first painting to be displayed on a British postage stamp) was described by the Gallery this year to be a unique opportunity 'to acquire an exceptionally important painting by one of the finest European portraitists of the early 19th century, which is of outstanding significance for British national heritage.' Previously dismissed as superficial, owing to the apparent facility of his technique, none of Lawrence's followers matched the fresh immediacy of his brushwork, with the possible exception of John Singer Sargent, and today, especially following the 1979 exhibition at the National Portrait Gallery, this great artist's stature has been reappraised: he is now widely believed to have been the finest portrait painter of his generation in Europe. Lawrence's achievement as a painter was based largely on his confidence in his largely self-taught powers as a draughtsman. As appears to have been the case with the present portrait, he usually drew the figure directly on his canvases before applying the paint, rarely producing separate preliminary sketches. His admiration of the great draughtsmen of the past influenced his own work as well as stimulating him to acquire outstanding examples of the work of the Old Masters. Unlike such artists as Sir Joshua Reynolds, who delegated such chores to studio assistants, Lawrence was also remarkable for insisting on choosing the dress, accessories and settings of his sitters with particular regard to the age and concerns of the sitter. This intimate depiction of a close family friend is the perfect example of Lawrence's extraordinary ability and dedication to his art.We are grateful to Peter Funnell and Brian Allen for their assistance in cataloguing this lot.For further information on this lot please visit Bonhams.com

George Romney (Beckside 1734-1802 Kendal)Portrait of Miss Mary Barnes (1745-1822), half-length, in a blue dress with white lace trim, within a painted oval oil on canvas77.1 x 63.9cm (30 3/8 x 25 3/16in).Footnotes:ProvenanceThe sitter, and thence by descent to Mr G. Barnes, by whom given to his distant cousinLiteratureA. Kidson, George Romney. A Complete Catalogue of his Paintings, London, 2015, p.51 cat. no. 56, ill.The following 5 lots depict members of the Barnes household, all painted by George Romney and all of which have remained in the family since they were executed in the 1760s. Pater familias in this group was Henry Barnes (1702-1793); a successful lawyer who was Clerk of the Errors in the Court of Common Pleas and a Commissioner of Bankruptcy and who was also known as Secondary Barnes. This portrait is mentioned by Richard Cumberland in his obituary of George Romney published in 1803 in which he states that it was made shortly after his move to Gray's Inn (see Lit. lot 11). A later inscription on the portrait of Secondary Barnes suggests a date of 1768 for the portrait but Kidson believes the whole group to be a little earlier in the 1760s and, if as Cumberland suggests, they were executed after his move to Gray's Inn they would date to after Romney's return from his trip to Paris in the autumn of 1764. The remaining paintings of Mrs Anne Barnes, wife of Secondary Barnes, and their children and daughter-in-law presumably date to not long after the portrait of the father – Kidson suggests that these were most probably commissioned once the initial portrait had been completed and approved. In a note in the Royal Academy sketchbook (no. 2), Romney made a note those who still owed him money. In this list there is a mention of a 'Mrs Barnse' who still had 6gns outstanding. However, it is not clear whether this refers to Anne, wife of either Secondary Barnes or his daughter-in-law, Anne (née Phillips). For further information on this lot please visit Bonhams.com

Only Fools and Horses original yellow Reliant Regal Supervan prop. This prop appeared in the 2012 Olympics closing show featuring Rodney and Del Boy's memorable characters of Batman and Robin who appeared from the vehicle. The vehicle was fitted with pyrotechnics to coincide with a countdown by Michael Caine with the iconic statement 'You were only supposed to blow the bloody doors orf', which it memorably did in true Trotter style. The London Olympics were watched by the Royal Family along with 21 million viewers. The car is complete with Olympic 2012 accessories. The Reliant Regal Supervan is 336 cms in length x 147 cms width.   

Registration No: TPH 317F Chassis No: VR537129 MOT: ExemptOne of just 6,555 examples madeCurrent ownership since 2016 with a recorded mileage of c.52,000 milesUnderstood to have been subject to mechanical fettling by the previous (retired engineer) ownerAn older restoration presented in a genuine colour scheme for the modelAnnounced in August 1964, the Princess 4-Litre R featured a Rolls-Royce, all-aluminium, 175bhp engine enabling an unusually high power to weight ratio enabling cruising at 90mph and a top speed in period of 112mph. The engine was the product of over two years of technical collaboration between BMC and Rolls-Royce. Twin SU carburettors were fitted, both the cylinder block and head were aluminium, tappets were hydraulic self-adjusting operating on overhead valves configuration and the counter-balanced crankshaft ran in seven main bearings, reducing vibration. Pricing aimed at challenging the Mk. X Jaguar was a major change of market positioning, aiming at growth in the prestige and executive market segments of Europe and the United States. The 4.0 R was luxurious with polished walnut fascia, padded top and bottom, fully reclinable leather seats and polished picnic tables for the rear passengers. A new automatic transmission was provided by Borg-Warner; its first use in a British car, and Hydrosteer variable-ratio power steering accompanied wider tyres.One of just 6,555 examples made, this 4 Litre R was manufactured in 1968 and UK-registered in March that year. Famously fitted with the aforementioned 3909cc Rolls-Royce straight-six engine mated to the Borg-Warner automatic transmission, the Princess is finished in the model colour scheme of Peat over Maltese White with Champagne leather interior upholstery. Entering into current ownership in 2016, the Vanden Plas was previously owned by a retired engineer who is understood to have provided the R with mechanical fettling and tuning. With a recorded mileage of just 51,991 miles (at time of consignment), ‘TPH 317F’ is an older restoration and is offered with a current V5C document.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: UDV 250H Chassis No: 242370P233660 MOT: March 2022‘Resto-moded’ approximately 8-9 years agoSubject to an engine overhaul in 2018 with further upgrades and minimal mileage sinceImported into the United Kingdom in 1973Genuine ‘242’ chassis numberThe original much-vaunted series of GTOs reigned from 1964 to 1974 and were classic muscle cars of the period. Forced to adhere to the US manufacturers' voluntary ban on factory-sponsored racing, GM had turned its attention to optimising the performance of its road cars, in order to maintain the interest of the young American enthusiast. The GTO was essentially the brainchild of three men - engine specialist Russell Gee, chassis engineer Bill Collins and chief engineer John DeLorean; who later achieved fame for the car bearing his name and cheating the British taxpayer of millions of pounds. The GTO was DeLorean's clever idea, but one strongly resented by Ferrari enthusiasts.This genuine ‘242’ chassis number GTO was manufactured in 1970, spending three years abroad before reaching UK shores in 1973. Fitted with a 6.5-litre 400ci V8 engine which was comprehensively overhauled in 2018 encompassing a desirable 62 cylinder head, all new valves springs, new H-beam rods, fast road cam, HP oil pump, new Edelbrock intake manifold, Holly carburettor, new starter motor and alternator (with approximately 2,300 miles since the overhaul), all mated to the three-speed automatic transmission. Finished in striking Kawasaki Green with Black and Green cloth interior upholstery, ‘UDV 250H’ displays 95,550 miles. In current ownership since 2017, the Pontiac was ‘resto-moded’ between 8-9 years, with the GTO further benefitting from recent upgrades of new springs and shock absorbers. Fitted with a DAB head unit and 18-inch wheels, ‘UDV 250H’ is offered with a V5C document and current MOT until March 2022.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration: S701 CTCChassis No: TTBLN29969708MOT: Oct 2022Extremely rare 'gentleman's express', believed to be one of between 6-10 madeTwo registered keepers from new (the current since it was a year old)Returned to Bristol for servicing throughout its life with evidence of a recent automatic gearbox overhaul and new brakes “The Blenheim model is a four-seat coupe that blends discrete looks, ample performance and a sumptuous, handcrafted interior to create a unique motoring experience that has more than a hint of nostalgia about it. Borrowing technology from aircraft construction Bristols appeal to a small band of wealthy customers wanting beautifully engineered and packaged vehicles with continent crossing ability” (Auto Express, 29th December 2006)Named after one of its former parent company’s fighter aircraft, the Bristol Blenheim was unveiled in September 1993. Priced from £110,000, it may have been a left-field choice when compared to other British handbuilt grand tourers such as the Aston Martin Virage or Bentley Continental R but there were still those who valued its narrow track (useful when negotiating London traffic or country lanes) and unmatched visibility. Mounted behind the front axle line for handling balance, the staple Chrysler 5.9 litre V8 benefited from the adoption of electronic manifold fuel injection and was allied to a more sophisticated four-speed automatic gearbox. Criticisms as to the Bristol’s overly ornate radiator grille and pebble-sized headlights were addressed with the arrival of the Blenheim 2 in January 1998 which also boasted a reduced turning circle, power boost and reputed 150mph top speed. Only in ‘production’ for eighteen months or so, it is estimated that between six and ten Blenheim 2 cars were made with Bristol losing money on each one!Resident at an imposing Northamptonshire house, the first owner of chassis TTBLN29969708 part-exchanged a Bristol Brigand in order to obtain it. His successor, the managing director of a world-famous investment bank, acquired the four-seater when it was just over a year old. Relocating to London’s Holland Park, the Blenheim 2 was lavishly maintained. Returned to its maker several times a year if the need arose, the car boasts a full Bristol Service History up to 86,000 miles (the odometer currently reads c.92,000). The last major invoice on file totalled £8,436.23 and was issued on December 12th 2019 (though, annual expenditure exceeded £6,000 in 2017 and 2018 too). A striking looking machine finished in Brabazon Grey with Magnolia leather upholstery, ‘S701 CTC’ is understood to draw a crowd wherever it goes which is perhaps unsurprising given its rarity. Said to be in rude mechanical health with evidence of a recent automatic gearbox overhaul and replacement brakes, the Blenheim 2 has a few cosmetic blemishes typical of a London car. Offered for sale with V5C Registration Document, supplying invoice, MOT certificate valid until October 2022 and ‘a good half inch of service history’.Footnote: PLEASE NOTE: We have been informed that it was the second owner (and not the first) who part-exchanged a Brigand as part of his purchase with the Blenheim costing him £100,155 in December 1999.PLEASE NOTE: This lot is accompanied by an old-style V5 Registration Document. The vendor is hopeful of finding the current V5C Registration Document but if he cannot then a new owner will have to apply for a fresh one.

Registration No: AOE 458Chassis No: F4MOT: ExemptSubject to an engine overhaul in 2009Reconstructed by Dick Buckland in the late 1970'sOffered with a collection of old MOT'sCollection of reproduction handbooks and old invoices1172cc side-valve Ford engine with Twin SU'sThe success of today's Morgan three-wheelers has inevitably reignited interest in the period versions. However, by the 1930s a proliferation of affordable four-wheeled cars was providing the company's traditional motorcycle-powered range with increasing competition. Morgan's initial response was the F4, which it launched at the 1933 Olympia Motorcycle Show. It was still a three-wheeler, but boasted an all-new pressed steel chassis topped by a four-seat body, while power came from the 1172cc side-valve Ford engine as used in the Model Y. This approach certainly proved pretty popular, and the F4 continued in production for the next 19 years. Gracing the front cover of the Morgan Three Wheeler Club’s Bulletin magazine in August 1993, ‘AOE 458’ was captioned thus: ‘If the F4 had looked like this in the 1950s, Morgan would have sold hundreds’. The two-seater’s widened stance and boat-tail rear are understood to be the work of Dick Buckland who owned it during the late 1970s. A skilled innovator, Mr Buckland apparently modernised / upgraded a number of Three-Wheelers using parts from other Morgans and even other manufacturers. A handsome machine, ‘AOE 458’ has thus been uprated with an alternator, electric cooling fan, bucket seats, hydraulic brakes and twin SU carburettors etc. Treated to an engine overhaul, new clutch and sundry rewiring in 2009, the Three-Wheeler was repainted the following year. A special Morgan (or Morgan Special if you prefer), it is offered for sale with V5C Registration Document, sundry bills, assorted correspondence and reproduction handbooks etc.Footnote: For more information, please contact:James McWilliamjames.mcwilliam@handh.co.uk07943 584760

Registration No: AXD 131MChassis No: 9E15DDX13287MOT: ExemptPLEASE NOTE: This lot was driven to the sale by Vendor who has advises that the engine needs a check over (could be a Fuel issue)‘Rolling Restoration’ project described as being in regular use as an everyday classic hack and in running order.Upgraded with a vinyl roof, cloth-faced seating, Rostyle wheels, etc to bring it close to GLS Spec.Other sensible modifications include Stromberg 150 carb, oil cooler, towbar with electrics and a recent full set of Goodyear tyres, etc.Interestingly the London-issued 'AXD' registrations often appeared on Vauxhall press and publicity vehicles and it is intriguing to speculate that ‘our Viva’ has history yet to be discovered!

Registration No: N210 CFY Chassis No: SAXXNYAXBBD106776 MOT: November 2022A mere 22,493 (atoc) miles from newSupplied new via Windsor’s Limited of Wallasey to its first lady owner who retained the Mini until 2011Only three former keepers with current registered ownership since 2015Offered with the original handbook and service book presented in Rover walletAs owners of the ‘Sprite' name, the Rover Group had two goes at badging Minis with it - the first was in 1983 when Austin-Rover (as-was) built 2500 examples of a ‘youth appeal’ 998cc model fitted with special 10-inch alloy wheels, drum brakes and bold side striping. Available in only red or yellow, this first Sprite also had black bumpers, fixed rear windows and the full instrumentation from the 1275 GT on its side. The 1990s Rover Mini Sprite revived the name and usurped the old ‘City' designation. From its spring 1992 introduction, each Sprite was fitted with a carburettor-fed 50bhp version of the 1275cc motor and had an open-loop catalytic converter. Black wheel arches and grille frontage were teamed with chrome bumpers and standard-fit 12-inch steel wheels on the front disc-braked car. A Sprite script decal was applied to each rear three-quarter panel below the side windows. The model was deleted late in 1996 at the introduction of the `front radiator series of Minis.Manufactured in 1993, the Sprite was supplied new via Windsor’s Limited of Wallasey, Merseyside to its first lady owner. Fitted with the aforementioned 1275cc straight-four A-Series engine with the four-speed manual transmission, the Mini is finished in Red with Grey cloth interior upholstery. Retained by the first owner from 1995 until 2011, the Mini has had three former keepers with current registered ownership since 2015 and has covered a mere 22,493 miles (at time of consignment) from new in the hands of said keepers. Fitted with a new exhaust in 2015 with very minimal mileage since, ‘N210 CFY’ is offered with a history file that includes the original handbook and stamped service book displaying six entries and presented in the original Rover wallet as well as a small collection of invoices, MOT history, current V5C and a copy of a previous logbook.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: BGK 47H Chassis No: 127/258 MOT: ExemptOne of just 327 Jensen FFs (Ferguson Formula) produced and only 107 FF II manufacturedUK-supplied example which is understood to be mostly completeCurrent ownership since 2002 as a restoration project before being stripped and storedPrevious ownership from approximately twenty yearsA very scarce opportunity to purchase an FF ready for restorationThe Jensen FF is a four-wheel-drive grand tourer produced between 1966 and 1971. It was the first non-all-terrain production car equipped with four-wheel drive preceding the renowned and successful Audi Quattro and Subaru’s of many years later and featured an anti-lock braking system, the Dunlop Maxaret mechanical system, used hitherto only on aircraft, trucks, and racing cars. The letters FF stand for Ferguson Formula after Ferguson Research Limited who invented the car's system. Similar-looking to the rear-wheel-drive Jensen Interceptor but five inches longer and mechanically very different, it is distinguishable from the Interceptor by a few styling cues; the most obvious being the twin (rather than single) diagonal air vents on the front wing just rear of the wheel-arches.Manufactured in 1970, ‘BGK 47H’ is one of just 107 FF II’s manufactured and is fitted with the 6276cc V8 engine mated to the three-speed automatic transmission. Entering into current ownership in 2002 as a restoration project, the Jensen had resided in the previous custodianship for approximately twenty years beforehand. Stripped down for some bodywork repairs, the Jensen has been stored for many years since and is now a scarcely offered example ready for restoration. Thought to be mostly complete (although the bonnet, lights and badges are known to be missing), ‘BGK 47H’ is accompanied for sale by a blue V5C document. A large selection of further photographs is also available on request.Vendor Condition Ratings:Bodywork: ‘Poor'Engine: ‘Good' - However requires completionElectrical Equipment: 'Poor'Paintwork: 'Poor'Gearbox: ‘Good' - However requires completion Interior Trim: ‘Average'Footnote: For more information, please contact:Paul Cheethampaul.cheetham@handh.co.uk07538 667452

Registration No: T532 BLR Chassis No: WAUZZZ8DZXA053470 MOT: November 2022Desirable ‘Quattro’ example with the 2.8 V6 engineOnly two owners from new with current registered ownership since 2001Finished in the striking colour of Paradise GreenOffered with service book displaying eighteen stampsThe first generation of the Audi A4 was known as the B5 and was offered as a sedan or 'Avant' station wagon. Fitted with a range of naturally aspirated and turbocharged inline-four and V6 engines, the original Audi S4 and RS4 are featured in this generation of A4. In 1999, the B5 Audi A4 received a mechanical and styling facelift before production of the B5 A4 ceased in 2001. The Quattro variant was considered the highest specification under the S4 and RS4 models, utilising the 2.8-litre turbocharged V6 with all-wheel drive allowed a 0-62mph speed of just 7.5 seconds, with stopping facilitated by vented discs at the front and disc brakes at the rear.This A4 Avant Quattro was manufactured in 1998 and was delivered on the 31st of August 1999 by Audi Centre Windhoek, Nambia to a Ms. Schneider who owned the car for approximately twelve months before importing the car to the United Kingdom. Retaining it until 2001, ‘T532 BLR’ was passed to its second and only other keeper. Fitted with the 2.8-litre V6 engine with a five-speed manual transmission, the Avant is finished in the striking colour of Paradise Green with Black leather interior upholstery. ‘T532 BLR’ has covered a total of approximately 109,000 miles in the hands of its two keepers.Well-specified from new with four-wheel-drive; sport front seats; leather-trimmed steering wheel; black roof rails; sound package; electric sunroof with sun-screen and ‘rough-road’ uprated suspension. ‘T532 BLR’ is offered with the book pack which includes the original stamped service book illustrating eighteen service stamps (and additional brake fluid changes), six from Audi main dealers and twelve from a French car specialist. Further provided with a V5C document and is due to have a fresh MOT certificate in time for sale.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: ABW 721F Chassis No: 242378Z132151 MOT: ExemptRare and desirable four-speed manual gearbox exampleThe beneficiary of much improvement while in current ownershipFitted with the original 400ci engineUnderstood to be a ‘matching numbers’ exampleThe original much-vaunted series of GTOs reigned from 1964 to 1974 and were classic muscle cars of the period. Forced to adhere to the US manufacturers' voluntary ban on factory-sponsored racing, GM had turned its attention to optimising the performance of its road cars, in order to maintain the interest of the young American enthusiast. The GTO was essentially the brainchild of three men - engine specialist Russell Gee, chassis engineer Bill Collins and chief engineer John DeLorean; who later achieved fame for the car bearing his name and cheating the British taxpayer of millions of pounds. The GTO was DeLorean's clever idea, but one strongly resented by Ferrari enthusiasts.Manufactured in 1968, this was supplied new via Porter Pontiac Inc. of Denver, Colorado having been constructed in the Fremont plant. Costing $3,533.17 (according to the accompanying Pontiac Retail Price sheet for the car), with the GTO having been specified with the ‘wonder touch’ power steering from new along with dual-exhausts, interior lights, heavy duty floor shift and recessed window wipers, amongst other features. Fitted with the 400ci Pontiac V8 engine mated to the rare and desirable four-speed manual transmission. Finished in the striking colour combination of Solar Red with complementary Medium Red interior upholstery, ‘ABW 721F’ was imported into the UK in 2021, whereby it was purchased by the vendor (the sole UK keeper).An older restored example, the GTO has been subject to much recent improvement since entering into current ownership, with ‘ABW 721F’ benefitting from new door and window seals, servicing (with new spark plugs), refurbished wheels, new Eldbrook rocker covers, an interior refresh and engine bay tidying. Accompanied by the Pontiac build records and a current V5C document, the Pontiac is due to be driven approximately 65 miles to the sale.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: C193 RSA Chassis No: WF0CXXGAECFJ07695 MOT: August 2022Only three owners from new having been retained by the first owner until 2012Warranted 73,416 miles (atoc) from newSubject to much expenditure since 2016Offered with a history file including the original bill of sale, service book and a large number of past MOTs‘Special’ specification including Recaro interior and 5-speed gearboxFord's Capri was launched at the 1969 Brussels Motor Show. The fastback Coupe was intended to do for Europe what the Mustang had done for the USA - ie it was our 'pony' car, and would have been called Colt had Mitsubishi not bagged the name first. The monocoque body featured independent front suspension by MacPherson strut and a live axle with leaf springs at the rear. Worthwhile improvements came with the MKII models of 1974 and the quadruple headlamp MKIII cars introduced in 1978. Then in 1981, the venerable 3-litre Essex-engined variant was dropped in favour of the 2.8 Injection model - a single-car range powered by the lusty fuel-injected 2.8-litre Cologne V6. Power rose to 160bhp and, soon after launch, the old four-speed gearbox was replaced with a more contemporary five-speed one. Ford now had a stylish four-seat Coupe with performance capable of shaming rivals costing four times the money - it could hit 60mph in 7.8 seconds and top 130mph flat out. Capris have become hot property and many enthusiasts regard the 2.8-litre injection cars as the best of the bunch.Supplied new via County Garage (Ellon) Ltd of Aberdeen, being purchased on the 7th of January that 1986 by the first owner (as per the original bill of sale). Fitted with the 2792cc Cologne V6 engine mated to the five-speed manual transmission, this 2.8i Special is finished in the classic colour combination of Mineral Blue over Strato Grey with Grey leather and cloth Recaro interior upholstery. With just three owners from new, the Capri was retained by its first owner from 1986 until 2012, before passing to the second keeper, who also resided in Aberdeenshire and kept the Ford until 2018. Understood to have never used the car on the road, the current (third) keeper purchased ‘C193 RSA’ in 2018, covering just 73,416 miles from new (at time of consignment) in the hands of the said three owners.Costing £9,603.50 when new, the Capri was specified with the optional extra of Ford mud flaps as illustrated by the aforementioned original bill of sale that is presented in the history file. The history file further includes the original books (with service book and owners manual); a collection of invoices; some hand-written logs of expenditure; copies of previous logbooks; a large number of MOTs with the earliest dating from 1992; a current V5C document and two keys, one set which is displaying an original dealership key ring.The subject of much expenditure since 2016, the Capri benefitted from engine, gearbox and rear axle refurbishment in 2016 along with fitment of new-old-stock front wings, front panel and ‘slam’ panel and repainting in the original colour scheme. The Capri’s suspension received an overhaul including uprated bushes and a brake refresh in 2017. During the current ownership, ‘C193 RSA’ has been treated to a replacement gearbox and new clutch, limited slip-differential repairs (with double clutch bands fitted) and servicing. It has also had the leather sections of its upholstery professionally re-connolised.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: IOM-Reg (previously 'AWM 5') Chassis No: GFT2 MOT: ExemptExhibited at the October 1931 Salon d’Automobiles in Paris’s magnificent Grand Palais, chassis GFT2 provided coachbuilder Barker with an opportunity to showcase its talents to a truly international audience. Thought to be unique, the Swept Tail Sports Saloon body that the London firm created for the occasion was a stylistic masterclass. The Rolls-Royce’s previous owner, Julian Bowen, was unaware of its significance when he took possession in May 2008. A renowned furniture designer, the car’s lines enchanted him so much that he rejected a host of other 20/25s and spent well over a year politely badgering his immediate predecessor to sell. Applying to the Rolls-Royce Enthusiasts’ Club for a set of copy build records revealed that GFT2 was a former ‘Paris Show Car’. Suitably enthused, he tracked down relevant copies of Motor and Autocar magazines which confirmed the 20/25 had originally sported a bold two-tone livery and wheel discs. Determined to return the Swept Tail Sports Saloon to its former glory, Mr Bowen embarked upon a meticulous restoration the story of which is recounted in his own words below: “We decided to start with the body repairs, keeping an eye for traces of the original colour scheme - Green and Cream! It took time to be satisfied with a hue match, but after weeks of experimentation we felt it was perfect. I was lucky to be using a small body shop outside Grantham whose approach was as fastidious and perfectionist as my own. The chromework was re-plated and the bonnet hinges remade in stainless steel. In removing the hinges, the original rivets had to be sacrificed. I purchased replacements but they stood too proud. A retired friend heard of the problem and offered to machine over 400 rivets to the correct profile! He also remade the Barker patented dipping system in stainless steel. At the same time all the dome headed coach bolts on the body were remade in stainless steel. A commercial supplier supplied new wheel discs. The original windscreen had delaminated so a new one was obtained. The chrome went back on, the locks were repaired, and the headlamps sent to Sheffield to be refurbished. It was time to tackle the trim. Around 1960 'Arabella' (as she is known) had been sold to America spending the next 25 years in Florida. Painted Copper Bronze, fitted with Buick bumpers and shorn of her wheel discs, she also suffered heat damage to the interior. Thankfully, the original but heavily cracked horsehide leather was covered over with vinyl rather than being discarded. A small tannery in Southern Spain, who tanned leather by hand, were able to colour match using cowhide. I already knew a trimmer whose work was of very high quality and was confident he would maintain the standards already achieved. The original stuffing of horsehair and latex was re-used. There were no carpets or headlining present, so we chose colours that suited the rest of the livery. Basically the engine and drivetrain were in good condition, but some ancillary equipment had gone missing over time. The most difficult items to source were the under trays and the starter solenoid. The engine had been worked on by the previous owner and already boasted an aluminium cylinder head and re-metalled bearings. The engine compartment was tidied, and all electrics re-wired using correct colours. After steam cleaning the chassis and re-painting, she was much admired by all who saw her. Over the course of the restoration, research into the car's history proved very interesting. The first owner, who saw it at the Paris Show in the Grand Palais was a well-known enthusiast for the marque, Captain JF Kruse MC. Born in 1892, Jack Kruse was the eldest son of a successful banker who, having survived a torpedo attack in WWI, left the Royal Navy with the rank of Captain. Following the war, he established successful business enterprises in England and The Netherlands, married an American hotel heiress, and cultivated various connections among British high society. By the end of the 1920s, Capt. Kruse maintained residences in London and the French Riviera. During this period, Capt. Kruse also developed a passion for elegant, high-performance motor cars. He owned some of the finest thoroughbreds of the era including an Alfa Romeo 6C 1750, Bentley 6 1/2 Litre, Bugatti Type 35, Mercedes-Benz SS, Low-Chassis Invicta, and Lancia Lambda, among others. Inspired by his close associate Lord Rothermere, the co-founder of the Daily Mail and an early patron of Rolls-Royce, Capt. Kruse became one of the firm’s most important customers, purchasing three Silver Ghosts, four 20 HPs, four Phantom Is, four Phantom IIs, and four 20/25s. Due to his friendship with Frank Manning, the showroom manager for Barker & Co., most of Capt. Kruse’s Rolls-Royce were bodied by this prestigious coachbuilder. The next owner, the Marquis de Portago, who bought the car in 1933, was a personal friend of Captain Kruse, the two having met on the polo pitch at the Hurlingham Club. In 1928, he had had an only son named Alfonso, whose mother used the car until it was disposed of just pre-WW2. Alfonso became a famous racing driver before his death in the 1957 Mille Miglia. The car spent World War Two in storage in Montpelier Square, London, emerging in the ownership of another Captain - Captain Drummond MC, a member of the banking family and a distant relative of the Queen Mother. Around 1960 she was sold to an American Serviceman based at Bicester and subsequently shipped to Florida. He registered her '1931 RR', and over 20 years allowed her to descend into dilapidation. She was spotted in Miami and brought back to the UK by Porters of Kensington and, shortly afterwards, c.1985, acquired by the retired motor engineer in Lincolnshire from whom I bought her in 2008. Built as a 'one off', she remains unique although rumours exist of a similar body built on a Phantom chassis. Since completion 'Arabella' has travelled c.16,000 miles. The first ride overseas was to the Classic Le Mans meeting, then a tour was made under the auspices of the ‘Club d'Auto’ around the Champagne vineyards of Epernay. We then attended the Circuit des Remparts at Angouleme before being invited to attend the British Car Club Meeting in St Moritz where we participated in the Rally, negotiating two Alpine Passes of seven and eight thousand feet before coming second in the Concours. She has made two trips to the Goodwood Revival and in 2012 she won Best in Class and Best in Show at the RREC Annual Rally at Rockingham. The achievement shortly afterwards of winning 'Best in Show' at the 2013 NEC Classic Car Show is a fitting testimonial to the craftsmen and friends who have helped to create the masterpiece that is the first Rolls-Royce to win this coveted award” Purchased by the vendor from Mr Bowen via our 2015 RREC Burghley House auction, GFT2 has continued its winning ways. Much appreciated wherever she goes, ‘Arabella’ was crowned 'Best in Show' at the 2018 RREC North of England Rally. Apart from this, ‘Arabella’ has been used for many local events on the Isle of Man since being acquired by the vendor. The last couple of months have seen the 20/25 treated to a new battery and full service. Worthy of close inspection, this decidedly special Rolls-Royce’s return to market has only been prompted by impending medical treatment. Offered for sale with large history file, handbook, car cover, hazard light kit (unfitted) and sundry tools.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

Registration No: RRN 516K Chassis No: 818.631.016806 MOT: ExemptCurrent ownership since 2013 with c.95,500 recorded milesDesirable original right-hand-drive exampleSupplied new to a Sgt. T. I. Millner based at RAF Wildenrath, GermanyThe beneficiary of a comprehensive engine and brake overhaul by Omicron Classico in 2014Offered with a history file including original sale invoiceWinner of a 'Top 10' prize at the the Lancia Motor Club Annual Weekend 2021The Lancia Fulvia Saloon made its debut at the 1963 Geneva Salon. The newcomer featured a narrow-angle DOHC V4 engine mounted ahead of and driving the front wheels. Front suspension was independent by wishbones and a single leaf spring, while a solid axle with Panhard rod and leaf springs was employed at the rear. Braking was by discs all-round. The two-door Coupe derivative was introduced at the 1965 Turin Salon, the wheelbase of which was 5.9in shorter than the Saloons. Countless race and rally victories were accrued by these feisty little cars, not least victory in the 1972 FIA Manufacturers Championship. All versions of the Fulvia were facelifted in 1969. These Series II cars had superior disc brakes, five-speed gearboxes, a diaphragm clutch, stiffer springing and an alternator.Supplied new to Sgt. T. I. Millner who was based at RAF Wildenrath in Germany, this 1971 Fulvia was manufactured new as a right-hand drive example. Powered by the 1298cc Lancia V4 engine mated to the five-speed manual transmission. Finished in the attractive colour combination of Mendoza Blue with Beige vinyl interior upholstery. Brought to the UK in 1973, the 1.3S entered into current ownership in 2013, purchased from the previous custodian of seven years and has a recorded mileage of some 95,500 miles.Benefitting from a comprehensive engine and brake overhaul by Omicron Classico in 2014 to the cost of approximately £6,800 (with the invoice on file), the Lancia was subsequently furnished with new front and rear screen seals and front discs and pads in 2018 (costing c.£900). Additional improvements include some cosmetic renovation in 2019 and two new tyres and servicing this year. Offered with a history file including an original sales invoice, instruction book and sales literature; a selection of MOTs (the earliest dating from 1984); a large collection of invoices relating to work, servicing and parts; images from a European road-trip in the early 1970s and V5C document.Footnote: For more information, please contact: Paul Cheetham paul.cheetham@handh.co.uk 07538 667452

Registration No: NUV 944 Chassis No: LML/50/393 MOT: Oct 2022“It would appear that every so often the gods pass over some Works or another and with an inclination of the head inspire the production of a car with outstanding virtues. The Aston Martin DB2 stands worthy in the pedigree of real motor cars stretching back through the 4½ Litre Bentley to the 30/98 Vauxhall” (Lawrence Pomeroy, The Motor, October 1950)According to its accompanying copy factory records, chassis LML/50/393 was originally finished in Black with Red upholstery. Notable for being among the last twenty of just 411 DB2 cars made, its specification included the more powerful ‘Vantage’ specification 2.6 litre DOHC straight-six engine (number VB6E/50/1221). Bearing the London registration number ‘NUV 944’, the two-seater was supplied new via Aston Martin concessionaire Brooklands of Bond Street to Ian Scott Duffus Esq of Old Place Farm, Mayfield Sussex. A successful businessman, Mr Duffus is believed to have been a scion of the Scottish shipping dynasty and to have garnered a degree of media coverage for building a private funicular railway to access his subsequent clifftop home in Devon. Returning to the factory for routine maintenance until November 1957, the DB2 relocated to the Midlands passing through the hands of Philip Scofield Esq., M.J.A. Hill Esq. and Queen’s Park Garage Ltd of Harborne before being acquired by William Ward Esq in February 1964. Taxation stamps in the continuation buff logbook on file indicate that Mr Ward took the Aston Martin off the road during 1965. Dormant for the next twenty years, ‘NUV 944’ was then sold to Keith Sampson who embarked upon a meticulous body off, chassis up mechanical and cosmetic restoration. Completed by February 23rd 1995 when the car passed its first recorded MOT test with ten miles on the clock, the work was documented via a photo album and handwritten log with the body accounting for some 560 hours alone. A luminary of the Sunbeam Tiger Owners’ Club and proprietor of the Sunbeam Spares Company, Mr Hampson was no stranger to classic cars. With plenty of other machinery to choose from, he covered a mere 1,700 miles or so behind the wheel of ‘NUV 944’ during his twenty-three years’ tenure. Thereafter, it passed to renowned Aston Martin collector Anthony Moody who added a further 600 or so miles to the odometer up until 2012 when he asked Philp Jones of Byron International to broker a sale on his behalf. Drawn to the Byron International advertisement which described it thus: ‘LML/50/393 is believed to be one of the finest examples available. The combination of its condition after several thousand hours of restoration work, a well-documented history of long-term careful ownership, and very desirable specification make it a highly sought-after acquisition for any serious collector or enthusiast’, the vendor commissioned a pre-purchase report from Chris Adams of the respected Feltham Aston Martin specialist Four Ashes Garage. Mr Adams’ conclusions were as follows: ‘This car has been superbly restored . . . it was restored by non-AM specialists when information was difficult to find . . . It is hard to fault the basic restoration, a body off full restoration before this became commonplace with body, paint and trim almost concours level. The engine problems are easy to fix but will cost a lot of money, caused by lack of basic product knowledge’. Intending to use the DB2 for historic rallying and trials, the seller negotiated a modest discount and despatched it to Four Ashes for a thorough engine reworking plus attention to the brakes, steering, suspension, gearbox, wiring and rear axle. As well as having various new internals fitted and being converted to run on unleaded fuel, the 2.6 litre DOHC straight-six benefited from Four Ashes’ expertise with regards to compression ratios, camshaft timing, ignition timing etc. The result according to a dyno sheet from Mass Racing was an impressive 169bhp and 163.8lbft of torque (an impressive thirty-five percent increase in power over a standard ‘Vantage’ unit and more than Jaguar initially quoted for its contemporaneous 3.4 litre XK engine). The gearbox was overhauled with new synchromesh cones and bearings. The steering was rejuvenated too and upgraded with variable electric power assistance. A rear damper conversion was complemented by a heavy-duty front anti-roll bar, reconditioned front dampers and lower / stiffer springs all round. The rear axle gained a Quaife partial locking differential, the flywheel was lightened / balanced and a new clutch installed. The electrics were converted to negative earth with other concessions to modernity encompassing an uprated alloy radiator, Kenlowe fan, stainless steel exhaust and K&N air filters. Completed in time to participate in the June 2013 Three Castles Rally, the ‘breathed on’ DB2 duly won its class and was subsequently invited to appear on the Aston Martin Owners’ Club stand at that year’s NEC Classic Car Show. ‘NUV 944’ also contested the 2014, 2015 and 2016 Three Castle Rallies as well as taking class honours on the 2016 Scottish Malts Rally. The two-seater was granted a FIVA Identity Card in 2017 as the vendor toyed with the idea of contesting the Mille Miglia Storica. In the end his other motoring commitments (mainly Maserati) put pay to such plans. Nonetheless, he continued spending money on the DB2 switching its upkeep to Aston Engineering of Derby. In addition to routine servicing, the latter overhauled the brakes in 2019 and fettled the gearbox during 2020. The seller tells us that he has spent over £100,000 improving and maintaining ‘NUV 944’ and it certainly comes with an impressive history file. Advertised for sale at £259,995 two years ago, the Aston Martin was reviewed and road tested by Classic Cars magazine’s Paul Hardiman who commented as follows: ‘This is an older restoration, but the workmanship is lasting so well it’s hard to tell ... It starts easily, goes well, and as you’d hope at this money, is a fully sorted car that’s very pleasant to drive. DBs of this vintage can be crude old things, but this is about as good as they get ... When tired DB2/4s can be bought at auction for not much more than £100k, this might look pricey at first glance, but it is the earlier, rarer, more elegant (and Mille Miglia eligible) model that couldn’t be replicated to this near-perfect standard for the price’. We believe the modifications have been sympathetically carried out and greatly enhance the driving experience and usability. However, they are all reversible should a new owner so wish. The engine timing cover is clearly stamped with the number ‘VB6E/50/1221’ and the unit started readily and sounded well during our recent photography session. The odometer displays 13,500 miles (11,000 or so accrued by the vendor). Put simply, this is a good car from a good home and worthy of close inspection. Offered for sale with large history file and ‘no advisories’ MOT certificate valid until October 2022.Footnote: For more information, please contact:Damian Jonesdamian.jones@handh.co.uk07855 493737

DOUBLE-STRAND GOLD NECKLACE, 19TH CENTURY, WITH CLASP BY SAH OVED, CIRCA 1940Designed as two rows of woven gold snake-linking, with a screw clasp, unsigned, length 70.4cmFootnotes:ProvenanceHilary Clarke (1925-2015), Director of Cameo Corner, BloomsburyDescent to the current ownerThe clasp is the work of Sah Oved (1900-1983), wife of Mosheh Oved, founder and owner of Cameo Corner, who was a jeweller and specialised in creating such intricate mechanisms.Hilary Clarke, known as 'Jill' to her friends, was one of the first women to be made a Fellow of the Gemmological Association of Great Britain in 1951. In her early career she worked as a designer for Edward Barnard & Sons of Hatton Garden (1950-1951) and S Root & Co Ltd (1951-1954) before joining Cameo Corner, Bloomsbury as assistant manager in 1954.When Clarke was made a director in 1962 she instigated a series of annual modern jewellery exhibitions which soon became a regular fixture in the trade calendar until the shop eventually closed in 1978. In 2001, in recognition of her contribution in promoting the work of British studio jewellers from the early Sixties until the mid-Eighties, she was awarded The Centennial Medal by the Society of Designer Craftsmen.For further information on this lot please visit Bonhams.com

AN ASSORTMENT OF TROPICAL WHITE DRILL UNIFORM AND OTHER CLOTHING, EARLY 20TH CENTURY An Indian Cavalry officer~s white drill Hot Weather mess jacket of |strangle pattern| upright collar style, with maroon piping to jacket, collar, cuffs and backseams. Together with a pair of white cotton trousers, a pair of polo breeches, and a white Marcella waistcoat by Anderson & Sheppard, named to Lt Col E.A.H. Fell (4) E.A.H Fell appears in the 1914 Army List as a Captain in the 12th Bengal Cavalry. The maroon piping in the seams of the mess jacket suggests the Central India Horse, who wore facings of that colour

A VERY RARE CHILD~S GRENADIER MITRE CAP OF THE ~COMPANY~ RAISED BY HIS ROYAL HIGHNESS, THE PRINCE WILLIAM AUGUSTUS, DUKE OF CUMBERLAND FROM THE CHILDREN OF THE ROYAL COURT, 1726 the front of stiffened red woollen cloth embroidered in silver thread with a star above a coronet reserved to the grandchild of the Sovereign surmounting GR in monogram addorsed between foliate decoration and edging, the red false front flap embroidered directly onto the frontal enclosing the White Horse of Hanover within a scalloped edge, the cap in blue woollen fabric, which also lines the reverse of the frontal, bearing two lines of silver lace stiffened internally with split cane ribs tacked in position, the rear band in red wool with, centrally, a yellow flaming grenade within foliate decoration in silver wire and yellow thread, the whole edged in silver lace, at the apex a tuft of mixed white and red hair bound in linen thread, several areas of modern conservation to in-fill moth damage and with no lining 25.5 cm; 10 in high Provenance Bonhams, Oxford, 21st April 2010, lot 426 The Hon David McAlpine The cap, having an internal diameter of approximately 6 inches, can only have been made for wear by a child. Though its appearance conforms generally to that of a soldier~s cap, its construction and materials indicate that it was made for a special purpose. |When but five years old he raised a company of young boys, much about his own age, whom he marshalled and trained up according to the method which ... appeared to him most convenient and satisfactory; and being a daily spectator of the manoeuvres and evolutions of the different corps in the regiment of guards, he, to the astonishment of all who saw him, drew up his little battalion in so regular and orderly a manner, that the King his grandfather was delighted therewith ...| Andrew Henderson, The Life of William Augustus, Duke of Cumberland, London, 1766 An identical cap, now in the Museum of London (Accession No. A6456) was sold in the Ernest Crofts sale by Christie, Manson & Woods on 19th December 1911.

[AP] A TROOPER~S SWORD OF THE EARL OF OXFORD~S REGIMENT OF HORSE, LATER THE ROYAL HORSEGUARDS (THE BLUES), LAST QUARTER OF THE 17TH CENTURY with single-edged blade double-edged towards the point and formed with a pair of narrow fullers along the back-edge (extensive rust), brass hilt comprising double shell-guard cast in relief on each side with the crest of Aubrey de Vere, 20th Earl of Oxford enclosed by the most Noble Order of the Garter beneath a coronet, and linked to the knuckle-guard by a scrolling bar front and back, short quillon, globular pommel decorated front and back en suite with the shell-guard, and original wooden grip (cracked) with a moulded collar at the top 73.5 cm; 29 in blade Aubrey de Vere, 20th Earl of Oxford (1627-1703) claimed to have led a ~regiment of scholars~ from Oxford for the king in the first Civil War, though there is limited evidence of this. Shortly after his marriage to Anne Bayning in 1647 he embarked upon his career as a royalist conspirator, being considered for the post of general of the royalist forces in 1665. He was one of the so-called ~new lords~ who took his seat in the house on 27 April 1660 and was made a knight of the garter the following month. The king also appointed him lord lieutenant of Essex and gave him command of the King~s regiment of horse, or, as it was commonly known while he was its colonel, the Oxford Blues. The regiment enjoyed the King~s favour and was entrusted with special duties attaching it to the sovereign. He is recorded living riotously on the Piazza at Covent Garden in the 1660s, where on one occasion a brawl erupted among his guests which was only quelled after the arrival of troops dispatched by the duke of Albemarle. Samuel Pepys recorded in 1665 that he visited Oxford~s house on business, and wrote ~his lordship was in bed at past ten o~clock: and Lord help us, so rude a dirty family I never saw in my life~. Another sword from this group is preserved in the Museum of London (inv. no. A12992) and another is illustrated Brooker 2016, pp. 57. Property from the David Jeffcoat Collection (1945-2020) Part proceeds to benefit Westminster Abbey

˜[AP] A FINE GOLD-MOUNTED PRESENTATION SWORD TO LIEUTENANT GENERAL WATSON OF THE 14TH (BUCKINGHAMSHIRE) REGIMENT OF FOOT, DECEMBER 1813 with earlier curved single-edged blade of finely watered steel, encrusted with a gold cartouche on one face with a stylised rendition of the renowned bladesmith ~Asad Allah Isfahani~, gold hilt chiselled in low relief, comprising a pair of recurved quillons decorated with conventional foliage, a pair of acanthus leaf langets, fluted back-strap and lionhead pommel formed in the round, original knuckle-chain, and spirally-carved ivory grip, in its gold-mounted wooden scabbard covered with crimson velvet (areas of wear), the mounts chiselled with scrolling foliage on a punched ground around the borders, comprising chape and middle-band each decorated with a large central flower, locket with an elaborate trophy-of-arms front and back, the latter carrying a plaque engraved with the presentation inscription, the scabbard edges reinforced by four strips chased en suite with the mounts, and with two rings for suspension 81.5 cm; 32 1/8 in blade The inscription reads: Presented to Lieutenant General Watson of H.M. 14th Regiment, by the Officers who had the honour to serve under him whilst he commanded the Samerang Division in the island of Java as a testimony of their esteem, December 1813. General Sir James Watson, K.C.B. was the son of Major John Watson, of the Royal Invalids. He was born at Chilton, Buckinghamshire, in 1772, entered the army as an ensign, 24th June 1783, and became lieutenant, 18th April 1792. He served with the 14th Regiment on the continent, under the Duke of York, in 1793 and 1794; became captain, 11th March 1795; and was engaged at the reduction of the Islands of St. Lucia and Trinidad, in 1796 and 1797. He became major, 3rd December 1802, and lieutenant-colonel, 15th May 1806. He commanded the 14th Regt. At the capture of the Isles of France and Java, including the assault and capture of Djocjocarta; commanded the expedition that captured the piratical State of Sambas in Borneo, in 1813; was at the capture of the fort of Hattras, and in the Pindaree and Mahratta wars, and actively assisted at the reduction of the fortress of Dhomone Mundela, at which latter place he led the storming party; he was also at Gurra Kotah and Asseerghur. He became colonel 4th June 1814; and major-general, 19th July 1821. He returned to England in 1827, and in 1830 proceeded again to the East Indies as a general officer on the staff; and, during the temporary absence of Lord William Bentinck, acted as commander-in-chief at Bengal, and returned to Europe in 1837, after a service of nearly 27 years in the East Indies. He became lieutenant-general 10th January 1837; colonel of the 14th Regiment, 24th May 1837, and general, 11th November 1851. He received a medal for Java, and was created a K.C.B. in 1839. The hilt and mounts incorporate a notable weight of gold which, along with their style and execution, suggest a place of manufacture in India or South East Asia. Property from the David Jeffcoat Collection (1945-2020) Part proceeds to benefit Westminster Abbey

˜[AP] A LANCER OFFICER~S SWORD BY PROSSER, CIRCA 1835-7 with curved blade double-edged towards the point, etched with elaborate scrolling foliage, the maker~s details ~Prosser maker to the King and Royal Family, London~, the owner~s crest, coat-of-arms and motto on one face, and with further foliage, including a lancer trophy-of-arms on the other, gilt-brass continental style hilt comprising scrolling bars, quillon and back-strap rising to the pommel and banded ivory grip (small chips) bound with plaited wire, with an early knot, in its steel scabbard with two rings for suspension 78.2 cm; 30 3/4 in blade The arms are those of Taylor of Bifrons, Kent. The absence of the Royal arms on the blade and the style of the hilt suggest that this may have been carried by an officer of the British Legion that fought in Spain during the first Carlist war (1835-7). The legion was a force of 10,000 men raised with royal permission to fight in support of Queen Christina and commanded by De Lacy Evans who was granted the rank of lieutenant-general in the Spanish army. Evans and the Legion were severely criticised in the Tory press but his services were rewarded on his return to England with promotion to full colonel (June 1837) and a KCB (1838). Property from the David Jeffcoat Collection (1945-2020) Part proceeds to benefit Westminster Abbey

Records: A vintage record box containing 45's incl. The Who, 4 Seasons, Bern Elliot, Aphrodite's Child, Dion, Burdon, Fleetwood Mac. (55+)

Records: A nice box of 60+ 45's to include The Who, Hendrix, Small Faces, The Essex, Intruders etc.

Records: Large record case of 45's + EP's incl. Hendrix, The Who, Sex Pistols, Beatles etc. (50+)

Records : DAVID BOWIE - nice collection of albums (9) in great condition vinyls/sleeves - inc Space Oddity, Live Nassau, Real Cool World, The Man Who Sold The World etc

Records : THE WHO - My Generation album on Brunswick LAT8616 - 1965 - super condition barely played sleeve/vinyl excellent

Records - 30+ classic rock albums incl. Kate Bush, The Who, U2 etc.

Anna Airy (1882-1964)Portrait of Mr Pocock, 1908signed and dated (lower right)oil on canvas85 x 91cm.   Many who knew her considered Anna Airy one of the most gifted English women artists. She was a prolific painter and mastered a variety of mediums including oil, watercolour, and etching. Her choice of subject matter was as diverse as her mediums, and she was held in high regard for this eclecticism. The Royal Society of British Artists held a ‘jubilee’ exhibition honouring her great talent, entitled Anna Airy: Paintings, Drawings, and Prints in 1952. The current lot is the first of a series of Anna Airy paintings that have come directly from the artist. 

Andrew Lanyon (b.1947)Freud, Lost in the Labyrinth of his last Patient's Mind Gazes out at Ariadne, who also loses the Thread, 1982signed, titled, and dated (to reverse)oil on board22 x 41cm.

Bryan Ingham (1936-1997)Flower Piece No.I,1988signed with initials (lower left), titled and inscribed (to reverse)collage & mixed media31 x 37cm. Provenance:Julian Hartnoll who purchased it from the artist in 1992.

James Joyce: 'Ulysses', Paris, Shakespeare & Company, January 1924, 4th printing, copy of T.S. Matthews (1901-1991), American magazine editor, journalist, and author (of a biography of T.S. Eliot, amongst others), served as editor of Time magazine from 1949 to 1953, married Martha Gellhorn 1954, who was previously the third wife of Ernest Hemingway, with T.S. Matthews bookplate to FFEP and his pencil ownership signature/inscription to original first blank "T.S. Matthews Paris July 1924", some early leaves loose and toned/brittle with small marginal part losses, contemporary full morocco (worn) ruled and decorated in gilt, with Matthews' initials in gilt to rear cover, as well as the initials "SBJ" in gilt and "V16" and "XXV" separately in gilt, gilt lettered title to spine with "Paris 1924" in gilt at foot. An interesting copy of a scarce and collectable work, "the most prominent landmark in modernist literature", with possible association to "Lost Generation" and other contemporary international circle of writers who made Paris their home in the 1920's and crossed their paths

Five assorted books all signed and inscribed/with autograph letters to Victor Ross (1919-2021), incl. Max Bygraves signed & inscribed to FFEP; Arianna Stassinopoulos 'Maria, Beyond the Callas Legend', signed & inscribed by author; Clive Hollands 'Compassion is the Bugler', signed & inscribed FFEP with ALS loosely inserted; Peter Scott: 'The Eye of the Wind', signed & inscribed to title page; George Marek 'Richard Strauss', ALS loosely inserted. From the collection of Victor Ross (born Victor Rosenfeld 1919-2021), former Austrian Jewish refugee who rose to become Chairman of Reader's Digest and an author. He was known for his formidable intellect, remarkable facility with languages, and his charitable work with the Thank You Britain Fund. He was also a collector and connoisseur of books, especially autographs. (5)

Lola Montez (1821-1861): 'The Arts of Beauty; or, Secrets of a Lady's Toilet. With Hints to Gentlemen on the Art of Fascinating.', New York, Dick & Fitzgerald Publishers, [1858], 1st American edition, half title present, 132pp + [12]pp ads at end, 12mo, original publisher's blindstamped cloth gilt. Eliza Rosanna Gilbert, Countess of Landsfeld (1821-1861), better known by the stage name Lola Montez, was an Irish dancer and actress who became famous as a Spanish dancer, and mistress of King Ludwig I of Bavaria. Montez had affairs with Franz Liszt, Alexander Dumas, and others. As a performer, she most likely engaged in sex work as well; in polite society she was described as a courtesan. Aspects of her story have been portrayed in many period and modern films and novels, and she may be the inspiration for Conan Doyle's Irene Adler

Rigby Graham: 'Leicestershire', Leicester, The Gadsby Gallery, 1980, limited edition (150), signed Rigby Graham & Trevor Hickman, unnumbered out of series inscribed presentation copy, inscribed by Hickman "Publishers copy for Mike Clutten" below Rigby Graham's signature, numerous illustrations by Rigby Graham, many colour, some full-page and tipped in, pictorial endpapers, oblong folio, original quarter morocco gilt over green cloth, original orange cloth slip-case, with 'Allegro Con Brio. To mark the publication of Graham's Leicestershire.', Leicester, Gadsby Gallery, 1980, limited edition (73/90), numbered, [4]pp, Sheepstor handmade paper, original stitched printed wraps, loosely inserted. From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), Rigby Graham: 'Ambiguity in Isolation (Hans Erni at Pfaeffikon)', Leicester, Toni Savage at the New Broom Private Press, 1978, limited edition, (62/100), numbered, 5 line drawing ills. (including covers), [6]pp, Sheepstor handmade paper, original stitched wraps; Alan Burke: 'The Collier', illustrated Kathie Layfield, Leicester, Athena & Toni Savage at the New Broom Private Press, 1979, limited edition, (one of 70 copies only), signed and inscribed by Toni Savage to Mike Clutten, Christmas 1979, 5 illustrations by Kathie Layfield (including cover), [10]pp, original stitched printed wraps; Arthur Caddick: 'COMFORT, the Cat', illustrated Kathie Layfield, Leicester, Toni Savage at the New Broom Private Press, 1982, limited edition, (one of 90 copies only), signed Toni Savage, 5 ills. by Kathie Layfield (including cover), [8]pp, original stitched printed wraps; Eric Swift: 'Arboretum', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1982, limited edition, (25/120), numbered & signed by Swift, 7 ills. by Rigby Graham (including cover), [18]pp, original stitched printed wraps; plus a Private Press Christmas card signed by Cynthia & Athena Savage, Leicester, [nd], circa 1970's/80's (5). From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), John Clare: 'To Napoleon', Leicester, Toni Savage at the New Broom Private Press, 1978, limited edition, (one of 80 copies only), signed by Toni Savage, 3 engraved ills. (including cover), [8]pp, original stitched printed wraps; Arthur Caddick: 'A Fifty Year Span', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1970, limited edition, (99/120), numbered and signed by Toni Savage, 5 illustrations by Rigby Graham (including covers), [6]pp, Sheepstor handmade paper, original stitched printed wraps; Rex Brisland: 'Lap Larch', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1982, limited edition, (47/100), numbered & signed by Brisland, 4 illustrations of Ireland by Rigby Graham, [10]pp, original stitched printed wraps; Paul Ward: 'In Northamptonshire Spring', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1983, limited edition, (5/110), numbered & signed by Paul Ward & Toni Savage, 4 ills. by Rigby Graham (including cover), [12]pp, original stitched printed wraps; Arthur Caddick: 'The day I swam the Hellespont', Leicester, Toni Savage at the New Broom Private Press, 1983, limited edition, (69/100), numbered & signed by Toni Savage, [6]pp, original stitched printed wraps (5). From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), Jack Woolgar: 'Poetry', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1978, limited edition, (one of 80 copies only), four ills. by Rigby Graham (including covers), [6]pp, original stitched printed wraps; Michael Smith: 'The Life Class', Leicester, Toni Savage at the New Broom Private Press, 1980, limited edition, (61/80), numbered, 4 illustrations (including cover), [6]pp, Sheepstor handmade paper, original stitched printed wraps; Michael Hanke: 'Poems', illustrated Rigby Graham, Leicester, Toni & Athena Savage at the New Broom Private Press, 1982, limited edition, (one of 120 copies only, this copy unnumbered out of series), cover illustration by Rigby Graham, [6]pp, original stitched printed wraps; Steve Cartwright: Warbling', illustrated Rod Felton, Leicester, Toni Savage at the New Broom Private Press, 1982, limited edition, (96/100), numbered & signed by Toni Savage, 4 coloured ills. by Rod Felton (including cover), [10]pp, original stitched printed wraps; plus 2 Toni, Cynthia & Athena Savage broadsheets 'Evacuated Ernie' & 'Cafe, Spring', 1995 (6). From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), Duine Campbell (illustrated): 'From the Wood', Leicester, Toni Savage at the New Broom Private Press, 1978, limited edition, (one of 80 copies only), 14 engraved ills. by Duine Campbell, [18]pp, original stitched printed wraps; David Rogers: 'New Oceans to Explore', illustrated Hans Erni, Leicester, Toni & Athena Savage at the New Broom Private Press, 1979, limited edition, (5/100), numbered & signed by Toni Savage, 3 ills. by Hans Erni (including cover), [6]pp, Sheepstor handmade paper, original stitched printed wraps; Arthur Caddick: 'The Virtues of Bacchus', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1984, limited edition, (5/120), numbered and signed & inscribed by Toni Savage for Mike Clutten, 3 ills. by Rigby Graham (including cover), [20]pp, original stitched printed wraps; John Adlard: 'Water Eaton', illustrated Robert Tilling, Leicester, Toni Savage at the New Broom Private Press, 1990, limited edition, (39/90), numbered & signed by Toni Savage, cover illustration by Robert Tilling, [6]pp, Sheepstor handmade paper, original stitched printed wraps; plus 2 Cynthia Savage broadsheets 'Al Pacino at Burrator', ill. Rigby Graham, 'Falsies', ill. Paul Humphrey, each 1995 (6). From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), Richard Gilbertson: 'Cornish Aerie and other poems', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1977, limited edition, (156/175), numbered & signed by Richard Gilbertson, 6 ills. by Rigby Graham (including cover), [18]pp, original stitched printed wraps; Arthur Caddick: 'Which Hot Ghost Will Whisper the Still Centre', illustrated Kathie Layfield, Leicester, Toni Savage at the New Broom Private Press, 1980, limited edition, (77/100), numbered, 3 ills. By Kathie Layfield (including cover), [6]pp, Sheepstor handmade paper, original stitched printed wraps; Keith Jesson: 'Monday Terrace', Leicester, Toni Savage at the New Broom Private Press, 1981, limited edition, (one of 90 copies only, unnumbered out of series copy), signed by Jesson, 4 illustrations (including covers), [10]pp, original stitched printed wraps; Sue Mackrell: 'Rhythms', illustrated Robert Tilling, Leicester, Toni Savage at the New Broom Private Press, 1991, limited edition, (43/90), numbered & signed by Toni Savage, 3 ills. By Robert Tilling, [15]pp, original stitched printed wraps; plus a Toni Savage/Arthur Caddick postcard sized printed broadsheet/pamphlet 'Reflection', 1986. From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), John Clare: 'The Setting Sun', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1976, limited edition, (one of 125 copies only), 3 ills. by Rigby Graham (including cover), [5]pp, Sheepstor paper, original stitched printed wraps; Eric Swift: 'Rondeau', Leicester, Toni Savage at the New Broom Private Press, 1980, limited edition, (5/80), numbered & signed by Toni Savage, 2 full page ills., [6]pp, Sheepstor paper, original stitched printed wraps; Pete & SHeila Rigg: 'Long Time Ago', illustrated Kathie Layfield, Leicester, Toni & Athena Savage at the New Broom Private Press, 1981, limited edition, (5/90), numbered, 5 ills. of cats by Kathie Layfield (including covers), [6]pp, Sheepstor handmade paper, original stitched printed wraps; Alix Weisz: Poems', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1978, limited edition, (77/90), numbered & signed by Toni Savage, cover ill. of Turf Stacks, Ballinakill, Co. Galway, by Rigby Graham, [6]pp, Sheepstor handmade paper, original stitched printed wraps; plus Cynthia Savage broadsheet by Paul Humphrey 'Whatever' ill. by Robert Tilling, 1995 (5). From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations

(Toni Savage, Rigby Graham, New Broom Private Press), Arthur Caddick: 'The Singing Heart', illustrated Rigby Graham, Leicester, Toni Savage at the New Broom Private Press, 1981, limited edition, (one of 90 copies only, unnumbered out of series copy), 4 ills. by Rigby Graham, [10]pp, original stitched wraps; Ian Caws: 'The View from Two Murders', illustrated Marlene Staniforth, Leicester, Zeta Alessandra & Toni Savage at the New Broom Private Press, 1972, limited edition, (112/125), numbered & signed by Ian Caws, 6 coloured ills. by Marlene Staniforth, [19]pp, original stitched printed wraps; Kathie Layfield: 'Sketches of Venice', Leicester, Toni Savage at the New Broom Private Press, 1980, limited edition, (5/100), numbered & signed by Toni Savage & Kathie Layfield, 8 ills. by Layfield (including cover), [14]pp, original stitched printed wraps; 'Keepsake', Leicester, Toni & Athena Savage at the New Broom Private Press, [nd], c.1970's/80's, limited edition, (one of 40 copies only), 10 engraved ills. from the collection of Robin Alston, [14]pp, original stitched printed wraps; Alex Patterson: 'Kirkconnel Folk', Leicester, New Broom Press, 1984, 62pp, original laminated wraps (5). From the estate of Michael Clutton (1934-2016), resident of Leicester from the 1950's who had a longstanding career in the paper trade and supplied handmade papers to Toni & Cynthia Savage, Trevor Hickman, Rigby Graham et al for their various Private Press publications/collaborations